Imaginary Interview with Saint Thyagaraja:
Imaginary Interview with Saint Thyagaraja:
THIS WAS PUBLISHED IN another forum…A couple of years back..(Songs added now…)
Thyagaraja: Evaru ochinanru –Chudu
Disciple: Rasika……nuchi Ochnaru
Thyagaraja: Randi Randi
Vkailasam: Vanakam Ayaha.
The rest of the interview,I choose to transalate in
English.
Vkailasam: Sir Can you tell a few words about you.
Thyagaraja: Laughing-My forefathers migrated long time back-during
16th century
from Andhra and settled down in Tanjore District.
We belong to Telugu smartha Brahmin sect. My maternal grandfather was Giriraja kavi.
I was born in his house. My grandfather was a poet in the court
of the king of Tanjavur. My father was kakarla Ramabrhmam.
My mother was Seethamma.
I am the third son to my parents.
My father was patronized by the king and he was attending to spiritual activities in the court .
I am named after local deity Thagyaraja.
Vkailasam : Sir, I was wondering ….
Thyagaraja: Yes,Yes.I Know what you are going to ask….. Why compositions are in
telegu… is it not ..Laughing….
As we are basically Telugu people, this came to me naturally. As the
flow was free, perhaps the thought that I should change, never occurred
to me….nothing else.
Vkailasam: Is Namo Namo Ragavaiah your first piece?
Thyagaraja: Yes, it is in Raga Desika Todi.
Vkailasam: Were you merely 8 years at that time?
Thyagaraja: Mu…. Mu …..
http://www.youtube.com/watch?v=wqamWYjuzbA
Vkailasam: About your guru sir..
Thyagaraja: I commenced training at an early age with sonti venkataramiah.
vkailasam: We learn that he was very impressed with you and invited you to perform in his house, were you to obey the Guru ….you Sang “Entharo Mahanubhavu”.
Thyagaraja: Yes ….Yes …
http://www.youtube.com/watch?v=Q7u7VBhMwZA
vkailasam: Sir, Who initiated you to Rama Mantra?
Thyagaraja: It was my father Ramabrahmam who bought me to worship Rama . I was chanting continuously almost nonstop. I had a momentary drashan of Shri Rama. I was ecstatic.
vkailasam : Is it at that time you sang Balakanakamaya?
Thyagaraja: Absorbed in his thoughts…
http://www.youtube.com/watch?v=0kEYuNig8jI
Vkailasam: Sir…
Thyagaraja: Yes…
vkailasam : We learnt that sage Naradha has provided you the secret and
Mystery of musical notes. Is it you had the blessings of both Lord Rama and Sage Naradha?
Thyagaraja: No reply..
vkailasam : Sir, we are told that you have turned down the gifts and the request
of the King to sing in his presence as you felt anguished
and sang the song Nidi sala sugama.
Thyagaraja: Yes… Which is better—money and fame or being in the presence of the Lord Rama?
vkailasam: But that resulted in the loss of His Idol?
Thyagaraja: But the ecstasy which I got on recovery of the same!
http://www.youtube.com/watch?v=valdgkBupXI
After this incidence, I visited various temples. I recall I sang the five songs
Kovur Pamcharatnas in praise of Lord Sunderewara.
vkailasam Yes sir we heard that Kovur Sunderesa mudaliar who has
hosted you hinted that he would like songs in his praise.
Thyagaraja: No reply……
http://www.youtube.com/watch?v=gW3Qqzgo1dU
vkailasam : Sir, for you Bakthi and Music are same you used your compositions to
activate Nadhopasana to attain Moksha.
Thyagaraja: yes yea I have brought out these in my songs Shobillu
Swararagasudha, Nadathanumanisham and also Nadopasana.
sobhillu saptaswara … http://www.youtube.com/watch?v=soVVnPi2KrM
swararaga sudha…. http://www.youtube.com/watch?v=Ua1aZRHL1P0
Nada Thanumanisham …. http://www.youtube.com/watch?v=8lO4t_JAKNY
Nadopasana……… http://www.youtube.com/watch?v=9oFQpGgOp8Y
vkailasam: Yes Sir. They provide insight into worship of Swaras.
Sribapriya also provides insight of mind seeking Swaras in
Blissful forms.
Thyagaraja: I have expounded Nada yoga in MokshamuGalada and
also in Ragasudharas…
MokshamuGalada … http://www.youtube.com/watch?v=ZsKLnL7gWjI
vkailasam: Yes sir…in Manusunilpa you have indicated that in spite of
all and any qualification that one may have, unless one gives up
kama and moha, there is no use in doing pooja or thapas.
Manusunilpa….. http://www.youtube.com/watch?v=sXHEjbTjS_4
Thyagaraja: Yes.. I stressed the same in Manasu swadeenamaina.
vkailasam: Sir, Is it in the song Eavarani nirnayan chedira you have explained
Rama manthira have been derived from Narayana and Siva Manthirams
taking two letters RA and MA from them respectively.
Thyagaraja: Yes Those who know this truth are worthy of respect
and one can prostrate before them.
vkailasam: Sir, there are no songs to invoke blessings of Nava grahas in your
compositions. We are told both you and Purandaradasa
did not attach any importance to astrology as both of you have felt
that it is the Lord who is the force behind the forces of planets.
Thyagaraja: Laughs… my song Grahabalamemi can provide answer.
I hope this is enough for the day…
vkailasam : Sir if you do not mind…one last question… You are also philosophical
you follow Dwaitham or Adwaitham school?
Thyagaraja: You can refer to my song Dwaitha sugama..
http://www.raaga.com/play/?id=71051
vkailasam : Sir ,Dwitha says Jeevatma is different from Paramatma.
Adwaitham says both are same. You call upon the lord to clarify….
When you ask the Lord who is the same as Paramathma, can we
take you are considering them separate?
Thyagaraja: Thank you…We meet again – he moves away
Some of the messages received from friends:
Here are some comments from well wishers on the above Interview:
1) My first reaction is, it is excellent and thought provoking. I think I will read this a few more times and try to find some more answers. Our forum will sure come up with more interesting explanations on the points you have raised.
With best regards.
Muralidaran
2)
Excellent piece of interview, which has thrown light on some of the songs,
why it was composed and sung. The coherence in the Q&A session brings out
the talent of the writer's creativity which adds flavour to the whole
conversation. Apart from the interview part ,it highlights the intellectual
thoughts of saint thyagarajar also.
The self intro has given a pen picture of the saint.
Good work , what a feast on UGADI Telugu New years day today!!!!!!!!!!!!!!
Thank you very much
mathangi
3)
Sir:
An excellent attempt and hearfelt congratlations.
Why did not any one think of it earlier ?
In contnuation ,when you are talking next to the Saint, you could please ask him if
got any reply from the Lord to the question posed in his Ritigowla
compostion "Dvaitamu Sukhma, Advaaitamu Sukhuma" ?
Warm Regards.
Sincerely
R.Natrajan
4) A very good try - I must say. Who next?
H. Murthy
5) From: Sethuraman Subramanian
To: rasikapriya- dot-net@yahoogro ups.com
Sent: Friday, March 27, 2009 9:28:24 AM
Subject: Re: [rasikapriya- dot-net] Interviewing Saint Thyagaraja
Nice attempt, VKV! Pl do the other two--SS and MD. Take your time.
I read somewhere that T's maternal grandfather' s (Sitamma's father) name was KALahasti Iyer who was a vINA vidwan in Thanjavur court. Was he also known by the name Girija Kavi?
6) Sir, your article was not only hilarious but thought provoking also. may Sri Rama bless you all. V.Narayanaswamy Fullerton CA
7) Dear Sri Venkat,
This was really awesome to read and I want to preserve it for my
children and friends to read and enjoy. I have taken the liberty of
"editing" it, and the edited content is below. Please forgive my
boldness, and I will appreciate if you can privately suggest any
corrections
8) Dear kailasamvenkat,
Thank you. These kind of topics are really interesting. You said it
very nicely. This symbolizes how much bhakthi Thyagaraja had in his mind
about Lord Rama and he tried to express in a variety of ways through his
several compositions. He succeeded to convey lots of good messages to
mankind.
Expecting more from you and other members.
9) Finally - a "thank you" for filling my inbox with really inspired postings. I cannot skim through *your* emails, as I do through many others.
Yours sincerely,
Bhaskar....
Part II....
Imaginary Interview with Saint Thyagaraja:
THIS WAS PUBLISHED IN another forum…A couple of years back..(Songs added now…)
Thyagaraja: Evaru ochinanru –Chudu
Disciple: Rasika……nuchi Ochnaru
Thyagaraja: Randi Randi
Vkailasam: Vanakam Ayaha.
The rest of the interview,I choose to transalate in
English.
Vkailasam: Sir Can you tell a few words about you.
Thyagaraja: Laughing-My forefathers migrated long time back-during
16th century
from Andhra and settled down in Tanjore District.
We belong to Telugu smartha Brahmin sect. My maternal grandfather was Giriraja kavi.
I was born in his house. My grandfather was a poet in the court
of the king of Tanjavur. My father was kakarla Ramabrhmam.
My mother was Seethamma.
I am the third son to my parents.
My father was patronized by the king and he was attending to spiritual activities in the court .
I am named after local deity Thagyaraja.
Vkailasam : Sir, I was wondering ….
Thyagaraja: Yes,Yes.I Know what you are going to ask….. Why compositions are in
telegu… is it not ..Laughing….
As we are basically Telugu people, this came to me naturally. As the
flow was free, perhaps the thought that I should change, never occurred
to me….nothing else.
Vkailasam: Is Namo Namo Ragavaiah your first piece?
Thyagaraja: Yes, it is in Raga Desika Todi.
Vkailasam: Were you merely 8 years at that time?
Thyagaraja: Mu…. Mu …..
http://www.youtube.com/watch?v=wqamWYjuzbA
Vkailasam: About your guru sir..
Thyagaraja: I commenced training at an early age with sonti venkataramiah.
vkailasam: We learn that he was very impressed with you and invited you to perform in his house, were you to obey the Guru ….you Sang “Entharo Mahanubhavu”.
Thyagaraja: Yes ….Yes …
http://www.youtube.com/watch?v=Q7u7VBhMwZA
vkailasam: Sir, Who initiated you to Rama Mantra?
Thyagaraja: It was my father Ramabrahmam who bought me to worship Rama . I was chanting continuously almost nonstop. I had a momentary drashan of Shri Rama. I was ecstatic.
vkailasam : Is it at that time you sang Balakanakamaya?
Thyagaraja: Absorbed in his thoughts…
http://www.youtube.com/watch?v=0kEYuNig8jI
Vkailasam: Sir…
Thyagaraja: Yes…
vkailasam : We learnt that sage Naradha has provided you the secret and
Mystery of musical notes. Is it you had the blessings of both Lord Rama and Sage Naradha?
Thyagaraja: No reply..
vkailasam : Sir, we are told that you have turned down the gifts and the request
of the King to sing in his presence as you felt anguished
and sang the song Nidi sala sugama.
Thyagaraja: Yes… Which is better—money and fame or being in the presence of the Lord Rama?
vkailasam: But that resulted in the loss of His Idol?
Thyagaraja: But the ecstasy which I got on recovery of the same!
http://www.youtube.com/watch?v=valdgkBupXI
After this incidence, I visited various temples. I recall I sang the five songs
Kovur Pamcharatnas in praise of Lord Sunderewara.
vkailasam Yes sir we heard that Kovur Sunderesa mudaliar who has
hosted you hinted that he would like songs in his praise.
Thyagaraja: No reply……
http://www.youtube.com/watch?v=gW3Qqzgo1dU
vkailasam : Sir, for you Bakthi and Music are same you used your compositions to
activate Nadhopasana to attain Moksha.
Thyagaraja: yes yea I have brought out these in my songs Shobillu
Swararagasudha, Nadathanumanisham and also Nadopasana.
sobhillu saptaswara … http://www.youtube.com/watch?v=soVVnPi2KrM
swararaga sudha…. http://www.youtube.com/watch?v=Ua1aZRHL1P0
Nada Thanumanisham …. http://www.youtube.com/watch?v=8lO4t_JAKNY
Nadopasana……… http://www.youtube.com/watch?v=9oFQpGgOp8Y
vkailasam: Yes Sir. They provide insight into worship of Swaras.
Sribapriya also provides insight of mind seeking Swaras in
Blissful forms.
Thyagaraja: I have expounded Nada yoga in MokshamuGalada and
also in Ragasudharas…
MokshamuGalada … http://www.youtube.com/watch?v=ZsKLnL7gWjI
vkailasam: Yes sir…in Manusunilpa you have indicated that in spite of
all and any qualification that one may have, unless one gives up
kama and moha, there is no use in doing pooja or thapas.
Manusunilpa….. http://www.youtube.com/watch?v=sXHEjbTjS_4
Thyagaraja: Yes.. I stressed the same in Manasu swadeenamaina.
vkailasam: Sir, Is it in the song Eavarani nirnayan chedira you have explained
Rama manthira have been derived from Narayana and Siva Manthirams
taking two letters RA and MA from them respectively.
Thyagaraja: Yes Those who know this truth are worthy of respect
and one can prostrate before them.
vkailasam: Sir, there are no songs to invoke blessings of Nava grahas in your
compositions. We are told both you and Purandaradasa
did not attach any importance to astrology as both of you have felt
that it is the Lord who is the force behind the forces of planets.
Thyagaraja: Laughs… my song Grahabalamemi can provide answer.
I hope this is enough for the day…
vkailasam : Sir if you do not mind…one last question… You are also philosophical
you follow Dwaitham or Adwaitham school?
Thyagaraja: You can refer to my song Dwaitha sugama..
http://www.raaga.com/play/?id=71051
vkailasam : Sir ,Dwitha says Jeevatma is different from Paramatma.
Adwaitham says both are same. You call upon the lord to clarify….
When you ask the Lord who is the same as Paramathma, can we
take you are considering them separate?
Thyagaraja: Thank you…We meet again – he moves away
Some of the messages received from friends:
Here are some comments from well wishers on the above Interview:
1) My first reaction is, it is excellent and thought provoking. I think I will read this a few more times and try to find some more answers. Our forum will sure come up with more interesting explanations on the points you have raised.
With best regards.
Muralidaran
2)
Excellent piece of interview, which has thrown light on some of the songs,
why it was composed and sung. The coherence in the Q&A session brings out
the talent of the writer's creativity which adds flavour to the whole
conversation. Apart from the interview part ,it highlights the intellectual
thoughts of saint thyagarajar also.
The self intro has given a pen picture of the saint.
Good work , what a feast on UGADI Telugu New years day today!!!!!!!!!!!!!!
Thank you very much
mathangi
3)
Sir:
An excellent attempt and hearfelt congratlations.
Why did not any one think of it earlier ?
In contnuation ,when you are talking next to the Saint, you could please ask him if
got any reply from the Lord to the question posed in his Ritigowla
compostion "Dvaitamu Sukhma, Advaaitamu Sukhuma" ?
Warm Regards.
Sincerely
R.Natrajan
4) A very good try - I must say. Who next?
H. Murthy
5) From: Sethuraman Subramanian
To: rasikapriya- dot-net@yahoogro ups.com
Sent: Friday, March 27, 2009 9:28:24 AM
Subject: Re: [rasikapriya- dot-net] Interviewing Saint Thyagaraja
Nice attempt, VKV! Pl do the other two--SS and MD. Take your time.
I read somewhere that T's maternal grandfather' s (Sitamma's father) name was KALahasti Iyer who was a vINA vidwan in Thanjavur court. Was he also known by the name Girija Kavi?
6) Sir, your article was not only hilarious but thought provoking also. may Sri Rama bless you all. V.Narayanaswamy Fullerton CA
7) Dear Sri Venkat,
This was really awesome to read and I want to preserve it for my
children and friends to read and enjoy. I have taken the liberty of
"editing" it, and the edited content is below. Please forgive my
boldness, and I will appreciate if you can privately suggest any
corrections
8) Dear kailasamvenkat,
Thank you. These kind of topics are really interesting. You said it
very nicely. This symbolizes how much bhakthi Thyagaraja had in his mind
about Lord Rama and he tried to express in a variety of ways through his
several compositions. He succeeded to convey lots of good messages to
mankind.
Expecting more from you and other members.
9) Finally - a "thank you" for filling my inbox with really inspired postings. I cannot skim through *your* emails, as I do through many others.
Yours sincerely,
Bhaskar....
thanjavooran
Venkatakailasam Avl,
excellent! Besides dialogue [in the interview] enjoyed the renderings too.
Thanx.
Thanjavooran 31 05 20012
excellent! Besides dialogue [in the interview] enjoyed the renderings too.
Thanx.
Thanjavooran 31 05 20012
#3 - mohan
Nicely done. Gives a good glimpse into the great composer's life and compositions!
#4 - cmlover
Very well (realistically) done Vkailasam!
Do some more with other (late) vaggeyakaras and musicians...
With the nice song clips it feels like being there...
You may add this superb SSI rendering Dwaitamu (perhaps embellished with with pictures/videos)
to your interview
http://www.hummaa.com/music/song/dwaita ... ma/102006#
Do some more with other (late) vaggeyakaras and musicians...
With the nice song clips it feels like being there...
You may add this superb SSI rendering Dwaitamu (perhaps embellished with with pictures/videos)
to your interview
http://www.hummaa.com/music/song/dwaita ... ma/102006#
#5 - tkb
simply Superb!
#6 - venkatakailasam
Thank you Sirs.. for your encouragement.....
#7 - suma
very nice 
#8 - narayanan88
Very innovative idea- how i wish he comes and listens to some contemporary concerts and gives his reviews!!!
#9 - rahm221
Great imagination. Well done.
#10 - Sam Swaminathan
I am eagerly looking forward to the next segment
of the interview and to the point in time when Sri Dikshithar meets
with Sri Thiagaraja...should be spectacular!
#11 - jeevanraju
One more question Thyagaraja sir
Thyagaraja: Yes, make it quick
Me; Why is that in all your compositions, you have mentioned your name as a "mudra"? In modern world, we call it megalomania. If all you cared for was bhakti and devition, why did you care for your name being attached to every song. By the way there are other megalomaniac composers as well.
Thyagaraja: No comment and get out.
Raju
Thyagaraja: Yes, make it quick
Me; Why is that in all your compositions, you have mentioned your name as a "mudra"? In modern world, we call it megalomania. If all you cared for was bhakti and devition, why did you care for your name being attached to every song. By the way there are other megalomaniac composers as well.
Thyagaraja: No comment and get out.
Raju
#12 - venkatakailasam
Shri Jeevanraju..
Thyagaraja is the deity's name at Thiruvaiyaru of which he is named after and the same deity's name he is using as mudra..
TyAgarAja has no compositions on the deity-thyagaraja but refers to the Lord TyAgesa with this epithet in several of his compositions while using the mudra as in the krti “bhaktuni cAritramu vinavE” in begada. In this krit he refers to Rama as “rAjashikhAmaNi yaina tyAgarAja sakhuni marava rAdane hari(bhaktuni cAritramu vinave) ” ie “the friend of TyAgarAja the crest jewel of Kings”.
There are many more such songs...
Thyagaraja is the deity's name at Thiruvaiyaru of which he is named after and the same deity's name he is using as mudra..
TyAgarAja has no compositions on the deity-thyagaraja but refers to the Lord TyAgesa with this epithet in several of his compositions while using the mudra as in the krti “bhaktuni cAritramu vinavE” in begada. In this krit he refers to Rama as “rAjashikhAmaNi yaina tyAgarAja sakhuni marava rAdane hari(bhaktuni cAritramu vinave) ” ie “the friend of TyAgarAja the crest jewel of Kings”.
There are many more such songs...
#13 - kvchellappa
To have a mudra and one's name added in a
composition is not megalomania. Great composers have done it. Even MDR
has done it. No one can imagine of him being a megalomaniac. One need
not be apologetic about adding mudra. It is in bad taste to imagine even
that Thyagaraja would say 'get out'. Bhakti gives true humility, we
have seen people like MS.
#14 - shankarabharanam
Superb vkailasam ji.. Looking forward to the next round interviews 
#15 - vasanthakokilam
>Thyagaraja: No comment and get out.
Thyagaraja: In modern world, you call it "By line". And everyone of your posts here have your name and you sign your posts too. Too bad I did not build in a number in my compositions so you people do not argue about my 'composition count'.
Thyagaraja: In modern world, you call it "By line". And everyone of your posts here have your name and you sign your posts too. Too bad I did not build in a number in my compositions so you people do not argue about my 'composition count'.
#16 - Pratyaksham Bala
Thyagaraja: Luckily I added my name! Otherwise I would be facing the same music as Oottukkadu Venkata Kavi!
#17 - nadhasudha
Thyagaraja: The compositions that came to me
were spontaneous and was a dialogue between me and Lord Sri Rama. So my
name must have crept in that way. I did not imagine then that it would
be interpreted this way.
#18 - cmlover
Are there any kritis without the name stamp?
#19 - arasi
VKailasam,
Just read this thread. Liked it very much. Even in your Mangalathaik kELungaL which is in a lighter vein, you weave in very good musical clips and all I can ask is: what makes you so very industrious? Wish I were as busy as the bee that you are--taking great pleasure in gathering and sharing your musical finds!
Mangalam would have said: tyAgarAja swamiyai kaRpanaiyilE interview seidirukkiRArE Kailasam? paDichELO? Innum avar ezhuduvadai ellAm paDiyungO! Mmm, en pERle kUDa EdO ezhudugiRadAgak kELvip paTTEn, padikkalAm illaiyA? Rasikas.org--ukkup pOip pArungo
Just read this thread. Liked it very much. Even in your Mangalathaik kELungaL which is in a lighter vein, you weave in very good musical clips and all I can ask is: what makes you so very industrious?
Wish I were as busy as the bee that you are--taking great pleasure in gathering and sharing your musical finds! Mangalam would have said: tyAgarAja swamiyai kaRpanaiyilE interview seidirukkiRArE Kailasam? paDichELO? Innum avar ezhuduvadai ellAm paDiyungO! Mmm, en pERle kUDa EdO ezhudugiRadAgak kELvip paTTEn, padikkalAm illaiyA? Rasikas.org--ukkup pOip pArungo
#20 - Ponbhairavi
signing one's name at the end shows a conscious
effort of composition and claim of authorship and a little pride .
Nothing wrong about it .several centuries earlier Jayadevar has affixed
his MUdra in each ashtapadhi.In those days there were no copyrights laws
as compared today when everybody wants to protect his right for his
bani or style or particular pidi or briga or characteristic voice
modulation.May be Thyagaraja wanted to establish his personal style of
worship( ref his personal utsava sampradaya dolotsava paddathi-- as
distinct from the bajanai dolotsava paddathi ). and he had his own set
of disciples to propagate the system.
But spontaneous outpouring in a state of ecstasy without any consideration of disciple or audience or linguistic puritanism(ie not caring whether this word is tamil sanscrit or telegu or grammatically correct ) or claim of authorship, is more self effacing and superior ( ref. Oothukadu )
Both are soaked in bhakthi. the first one is bhakthi in conscious practice second one is bhakthi in an unconsious transe.
The inevitable consequence is that the second one lends itself to be mixed up with spurious additions and this has happened to our puranas and religious scriptures even besides literary works.
But spontaneous outpouring in a state of ecstasy without any consideration of disciple or audience or linguistic puritanism(ie not caring whether this word is tamil sanscrit or telegu or grammatically correct ) or claim of authorship, is more self effacing and superior ( ref. Oothukadu )
Both are soaked in bhakthi. the first one is bhakthi in conscious practice second one is bhakthi in an unconsious transe.
The inevitable consequence is that the second one lends itself to be mixed up with spurious additions and this has happened to our puranas and religious scriptures even besides literary works.
#21 - venkatakailasam
I was waiting for some one to post about 'Raga mudra' while talking elaborately about (name ) mudras in compositions..
Raga mudra is about incorporating the name of the ragas itself in the compositions..It is peculiar to Dikshadar's compositions..
To quote fro Shri Dinesh" Dikshitar was a master in weaving the name of the raga into the body of his compositions. Dikshitar signed his compositions with the aid of 'Raga Mudra'. In fact many rare raga-s like Gauri, Chaya Gaulai, Narayana Desakshi etc are recognized ragas because they have a Dikshitar kriti and he has explicitly mentioned the raga name in them." leave alone the composiions with ragas such as bridavana saranga, Dwajanthi, Santhana gopalam upasmahe lalitha and the like.
A very interesting trivia however is while Dikshitar has incorporated in the 'sahitya' the name of almost all the raga-s that he used for his compositions but no kriti is available with the Thodi raga mudra. Perhaps the word itself was unsuitable to be used.
Apart from this I have come across an Album Raga Mudra composed by by Dr Brazil Subramaniyam rendered by By Smt Soumya....
In several ragas dikshadar introduces the name of the ruling deity of the kshatras also., the Devi Bhawani in Sattur has been praised as the goddess who provides rain and very aptly Dikshitar chose the raga Amritavarshini and describes the goddess as "Anandamritakarshini Amritavarshini ". Another example can be cited in the Rasamanjari (modern Rasikapriya) kriti where he describes the devi Kamakshi in Kanchi as Sringara Rasamanjari.
In some places, he hides the raga name in the composition and is not mentioning them directly..
One song that comes to mind is the example of Arabhi which Dikshitar brings to fore as Sams ara bhi tyapahe –meaning Sri Saraswati. Ananda Bhairavi which he brings forth as Ram ananda Bhairavam-Manasa guruguha roopam bhajare.
His kshatra krities shows not only the name of the place but such details as the vimhana of the temple, the name of the pushkarani, the moola manthra of the deity which are all interwoven in the sahitya itself..
He provides meaning of the Raga in some cases using Raga Mudra also. In his very first kriti Sri Nathadi he introduces the Raga mudra as " Maya Malava Gowla di Desha". Saurashtram in Varalakshmi Bhajare where he describes Lakshmi as " Saurashtra deshapatinuta dhaninim".
In a few kriti-s Dikshitar has referred to many hidden legends of ancient India by using the Raga mudra. For example, it is well known that in Chidambaram, Lord Siva defeated a very aggressive form of Parvati (Kali) and banished her outside the town as Thillai Kali This he has referred to in his kriti Sivakameshwarim Chintayeham as " Shanta Kalyana Gunashalinim" and through this he has introduced the Raga mudra Shanta Kalyani, which was the complete name of Kalyani now known as Mecha Kalyani. In another kriti Sri Venugopala, he has aptly chosen the raga Kurinji and referred to the story of a tussle between Rukmini and Satyabhama over the Kurinji flower. Krishna then decided to satisfy them both by having the tree in Satyabhama's garden but the tree was such that the flowers fell in Rukmini's garden. This legend is referred to by Dikshitar when he says "Sri Kuranji ta kama, shrita satyabhama".
It is easy to skip the thread but it is not going to help to provide and share the knowledge acquired to posterity..
Raga mudra is about incorporating the name of the ragas itself in the compositions..It is peculiar to Dikshadar's compositions..
To quote fro Shri Dinesh" Dikshitar was a master in weaving the name of the raga into the body of his compositions. Dikshitar signed his compositions with the aid of 'Raga Mudra'. In fact many rare raga-s like Gauri, Chaya Gaulai, Narayana Desakshi etc are recognized ragas because they have a Dikshitar kriti and he has explicitly mentioned the raga name in them." leave alone the composiions with ragas such as bridavana saranga, Dwajanthi, Santhana gopalam upasmahe lalitha and the like.
A very interesting trivia however is while Dikshitar has incorporated in the 'sahitya' the name of almost all the raga-s that he used for his compositions but no kriti is available with the Thodi raga mudra. Perhaps the word itself was unsuitable to be used.
Apart from this I have come across an Album Raga Mudra composed by by Dr Brazil Subramaniyam rendered by By Smt Soumya....
In several ragas dikshadar introduces the name of the ruling deity of the kshatras also., the Devi Bhawani in Sattur has been praised as the goddess who provides rain and very aptly Dikshitar chose the raga Amritavarshini and describes the goddess as "Anandamritakarshini Amritavarshini ". Another example can be cited in the Rasamanjari (modern Rasikapriya) kriti where he describes the devi Kamakshi in Kanchi as Sringara Rasamanjari.
In some places, he hides the raga name in the composition and is not mentioning them directly..
One song that comes to mind is the example of Arabhi which Dikshitar brings to fore as Sams ara bhi tyapahe –meaning Sri Saraswati. Ananda Bhairavi which he brings forth as Ram ananda Bhairavam-Manasa guruguha roopam bhajare.
His kshatra krities shows not only the name of the place but such details as the vimhana of the temple, the name of the pushkarani, the moola manthra of the deity which are all interwoven in the sahitya itself..
He provides meaning of the Raga in some cases using Raga Mudra also. In his very first kriti Sri Nathadi he introduces the Raga mudra as " Maya Malava Gowla di Desha". Saurashtram in Varalakshmi Bhajare where he describes Lakshmi as " Saurashtra deshapatinuta dhaninim".
In a few kriti-s Dikshitar has referred to many hidden legends of ancient India by using the Raga mudra. For example, it is well known that in Chidambaram, Lord Siva defeated a very aggressive form of Parvati (Kali) and banished her outside the town as Thillai Kali This he has referred to in his kriti Sivakameshwarim Chintayeham as " Shanta Kalyana Gunashalinim" and through this he has introduced the Raga mudra Shanta Kalyani, which was the complete name of Kalyani now known as Mecha Kalyani. In another kriti Sri Venugopala, he has aptly chosen the raga Kurinji and referred to the story of a tussle between Rukmini and Satyabhama over the Kurinji flower. Krishna then decided to satisfy them both by having the tree in Satyabhama's garden but the tree was such that the flowers fell in Rukmini's garden. This legend is referred to by Dikshitar when he says "Sri Kuranji ta kama, shrita satyabhama".
It is easy to skip the thread but it is not going to help to provide and share the knowledge acquired to posterity..
#22 - arasi
VKailasam,
So much to learn about here!
thODi is a difficult name of a rAgA to weave into sAhityam perhaps, but the two instances where I've heard them are: the pallavi line SankarAbharaNanai azhaithODi vA kalyANi, darbArukku, and one in that mega rAgamAlikA of HMB: unnai ninaindu, starting with sankarAbharaNam. Each rAgam is woven into the sAhityA. 'azhaithODi vA enRAL' is how thODi comes in.
Sanjay Subrahmanyan sang it at the Margazhi Maha Utsavam and it can be heard on youtube.
A song in nItimathi has the words: nI thImai thanai vilakki agam thulakkuvAi--an example for a hint of the rAgam with different words and meaning...
As for kuRinji: The tree in satyabhAmA's garden is pavaLa malli in the popular version. A once in a blue moon flowering kuRinji (every fourteen years?) sounds more like a rare flower to be coveted, but, I don't think it's as fragrant as the pavaLa malli.
So much to learn about here!
thODi is a difficult name of a rAgA to weave into sAhityam perhaps, but the two instances where I've heard them are: the pallavi line SankarAbharaNanai azhaithODi vA kalyANi, darbArukku, and one in that mega rAgamAlikA of HMB: unnai ninaindu, starting with sankarAbharaNam. Each rAgam is woven into the sAhityA. 'azhaithODi vA enRAL' is how thODi comes in.
Sanjay Subrahmanyan sang it at the Margazhi Maha Utsavam and it can be heard on youtube.
A song in nItimathi has the words: nI thImai thanai vilakki agam thulakkuvAi--an example for a hint of the rAgam with different words and meaning...
As for kuRinji: The tree in satyabhAmA's garden is pavaLa malli in the popular version. A once in a blue moon flowering kuRinji (every fourteen years?) sounds more like a rare flower to be coveted, but, I don't think it's as fragrant as the pavaLa malli.
#23 - cmlover
Wasn't it pArijAtam as dramatized in dance during the recent cleveland festival?
#24 - arasi
Yes, it was pavaLa malli--pArijAtham!
I have seen kuRinji in flower once. If you remember, pavaLamalli flowers, once they bloom, do not stay on the little tree.They fall as a fragrant mat of blooms around it! The easiest flower to string, its coral stems sturdy but the white petals so delicate that they bruise easily.
So, you stringed them with care, the fragrance enveloping you--what an offering of sraddhA to the gods!
I have seen kuRinji in flower once. If you remember, pavaLamalli flowers, once they bloom, do not stay on the little tree.They fall as a fragrant mat of blooms around it! The easiest flower to string, its coral stems sturdy but the white petals so delicate that they bruise easily.
So, you stringed them with care, the fragrance enveloping you--what an offering of sraddhA to the gods!
#25 - venkatakailasam
arasi..what you say seems to be logical..In that case 'sri-ku-ranjita kama Srita' may mean 'You are the conquerer of desires'
and Satya bhama is dearer to you..So the reference to the story of the fight between Rukmani and Satya Bhama here becomes irrelevant..
I have a recording of this song..sri venu gopala sri rukmini lola..by both MLV and MDR which I will try to post .. ....
and Satya bhama is dearer to you..So the reference to the story of the fight between Rukmani and Satya Bhama here becomes irrelevant..
I have a recording of this song..sri venu gopala sri rukmini lola..by both MLV and MDR which I will try to post .. ....
arasi
RukmiNi SatyabhAmA samEthamAnavan avan--Aga, iruvarumE samamthAn!
Thanks for the kuRinji songs in advance.
Thanks for the kuRinji songs in advance.
#27 - kittappa
Sri Venkatakailasam, srI ku ranjita kAmA: srI is
Mahalakshmi who took avatAra as Rukmini and ku means Bhooma Devi who
took avatAra as Sathyabhama. The line srIkuranjita kAmA means the kAma
or lover who delights both Mahalakshmi and Bhooma Devi.
Also, the song sringAra rasamanjarIm was composed at Thanjavur Bangaru Kamakshi temple. This is the 72nd mELAkarta, rasamanjari. The 1st mELakarta is kanakAmbarI in which he composed 'kanakAmbari kAruNyAmrita lahari' was also composed at Bangaru Kamakshi temple. kanakAmabri means one who is dressed in gold. It describes Bangaru Kamakshi aptly. Bangaru in Telugu means gold.
Also, the song sringAra rasamanjarIm was composed at Thanjavur Bangaru Kamakshi temple. This is the 72nd mELAkarta, rasamanjari. The 1st mELakarta is kanakAmbarI in which he composed 'kanakAmbari kAruNyAmrita lahari' was also composed at Bangaru Kamakshi temple. kanakAmabri means one who is dressed in gold. It describes Bangaru Kamakshi aptly. Bangaru in Telugu means gold.
#28 - venkatakailasam
Shri. kittappa ..,,nice..you have good vidvat in Sanskrit . I have learned it only during my schooling..
The meaning sri ku ranjita kama brought out is the one I am able to get only now..Thanks for the enlightenment..
The meaning sri ku ranjita kama brought out is the one I am able to get only now..Thanks for the enlightenment..
#29 - venkatakailasam
srI-vENugopAlA- Raga kurunji
composed by Dikshadar..
Rendered by Dr. ML Vasantha kumari..
http://www.youtube.com/watch?v=XyUmHhRmPok
composed by Dikshadar..
Rendered by Dr. ML Vasantha kumari..
http://www.youtube.com/watch?v=XyUmHhRmPok
#30 - cmlover
Where is MDR?
#31 - venkatakailasam
Sangeetham and bhakthi are two sides of the same
coin..These have to be acquired and practiced with humility which
brings with it a mind to suppress and win over the baser instincts and
elimination of the Ego to enjoy the niceities which it offeres…..
Mere scholarship without humility and music without devotion is according to Thyagaraja , akin to decorating a corpse.
In the Sankarabharana kriti, "bhakthi bhiksha meeyavayya," he says that even if a song is rendered well.. if it is rendered without devotion will be like decorating a dead man with diomend ornaments….
You can have Shri KVN rendering this song….
http://soundcloud.com/venkatakailasam/b ... arabharana
Those who have bloated ego have smaller mind wheras the broad minded person will have a mind of utmost humility…
Everybody knows about world reknowned Chitra vinna N Ravi Kiran…and knows about his busy schedule day in day out and the amount of travels he under takes all over the world…and his performances all most daily…the research work which he has undertaken is enormous…
A person so busy in life had send me a mail sometime back..Just to show the bigness of his heart and mind..I reproduce the same below….and not for self advertisement..
Your wonderful sites and uploads
Chitravina N Ravikiran ravikiranmusic@yahoo.com
to me
Dear Mr Venkata Kailasam,
I saw with interest several of your uploads in YouTube as well as your blog/sites. It is indeed very commendable work that you have been carrying out to bring in new audiences to Carnatic music.
I will be happy to add to some of your content, esp. from non-commercial recordings of Venkata Kavi's compositions that I may possess that maybe otherwise scarce to obtain.
I just had a couple of requests:
It may be a good idea to call him Oottukkadu Venkata Kavi - since it will be easier for people to identify him with that kind of image.
On a personal note, my name is one word and it is now consistently being printed more like Chitravina N Ravikiran (since a few other Ravikirans have also emerged in the field in recent times).
If you need any clarification on any song/composer that I have played on your uploads, please feel free to email me...
With sincere regards,
Chitravina N Ravikiran
Welcome to my Website
and Blog
Such is the humility people exhibit..even after reaching Himalayan heights…..That is the Bakthi which you show to your love of music..
Share and enjoy.....without reservations...
Mere scholarship without humility and music without devotion is according to Thyagaraja , akin to decorating a corpse.
In the Sankarabharana kriti, "bhakthi bhiksha meeyavayya," he says that even if a song is rendered well.. if it is rendered without devotion will be like decorating a dead man with diomend ornaments….
You can have Shri KVN rendering this song….
http://soundcloud.com/venkatakailasam/b ... arabharana
Those who have bloated ego have smaller mind wheras the broad minded person will have a mind of utmost humility…
Everybody knows about world reknowned Chitra vinna N Ravi Kiran…and knows about his busy schedule day in day out and the amount of travels he under takes all over the world…and his performances all most daily…the research work which he has undertaken is enormous…
A person so busy in life had send me a mail sometime back..Just to show the bigness of his heart and mind..I reproduce the same below….and not for self advertisement..
Your wonderful sites and uploads
Chitravina N Ravikiran ravikiranmusic@yahoo.com
to me
Dear Mr Venkata Kailasam,
I saw with interest several of your uploads in YouTube as well as your blog/sites. It is indeed very commendable work that you have been carrying out to bring in new audiences to Carnatic music.
I will be happy to add to some of your content, esp. from non-commercial recordings of Venkata Kavi's compositions that I may possess that maybe otherwise scarce to obtain.
I just had a couple of requests:
It may be a good idea to call him Oottukkadu Venkata Kavi - since it will be easier for people to identify him with that kind of image.
On a personal note, my name is one word and it is now consistently being printed more like Chitravina N Ravikiran (since a few other Ravikirans have also emerged in the field in recent times).
If you need any clarification on any song/composer that I have played on your uploads, please feel free to email me...
With sincere regards,
Chitravina N Ravikiran
Welcome to my Website
and Blog
Such is the humility people exhibit..even after reaching Himalayan heights…..That is the Bakthi which you show to your love of music..
Share and enjoy.....without reservations...
#32 - venkatakailasam
Thyagaraja possibly felt that the purpose of his
birth was completed when he composed the Ganavardini kriti "Daya
choochutakidi vela ….It is time for me to be one with you as I have
completed with devotion, the task entrusted to me" …
Radha Jayalakshmi have rendered this song…here..
http://soundcloud.com/venkatakailasam/d ... navardhini
when this was composed Thyagaraja had a vision of Sri Rama with the entourage…This is brought out in his composition “Giripainelakonna” in the beautiful raga – Sahana…..In this song he tells about the vision of Shri Rama which he had . Shri.Rama assured him that in a span of ten days he would be absorbed…
you can listen to Maharajapuram Santhanam…….
http://soundcloud.com/venkatakailasam/g ... i-santanam
It is stated that thyagaraja had taken snayasam…... O his finding the assurance by Shri Rama has not happened, on the tenth day, he sang the kriti "Parithapamu Kaniyadina" (Manohari)….
Shri OS Thyagarajan…hear here…
http://soundcloud.com/venkatakailasam/p ... rupaka-ost
It is stated that the thasildar of Thiruvayaru, has recorded that when Thyagaraja was rendering this song, an Omkara Naadha was heard and a jytoi was seen to emanate from the head of Thyagaraja and travelled upward. The saint then slumpted on the thambura he was holding, and become one with the Lord.
**audio from SP....
Radha Jayalakshmi have rendered this song…here..
http://soundcloud.com/venkatakailasam/d ... navardhini
when this was composed Thyagaraja had a vision of Sri Rama with the entourage…This is brought out in his composition “Giripainelakonna” in the beautiful raga – Sahana…..In this song he tells about the vision of Shri Rama which he had . Shri.Rama assured him that in a span of ten days he would be absorbed…
you can listen to Maharajapuram Santhanam…….
http://soundcloud.com/venkatakailasam/g ... i-santanam
It is stated that thyagaraja had taken snayasam…... O his finding the assurance by Shri Rama has not happened, on the tenth day, he sang the kriti "Parithapamu Kaniyadina" (Manohari)….
Shri OS Thyagarajan…hear here…
http://soundcloud.com/venkatakailasam/p ... rupaka-ost
It is stated that the thasildar of Thiruvayaru, has recorded that when Thyagaraja was rendering this song, an Omkara Naadha was heard and a jytoi was seen to emanate from the head of Thyagaraja and travelled upward. The saint then slumpted on the thambura he was holding, and become one with the Lord.
**audio from SP....
#33 - venkatakailasam
"Melu melu Rama nama" in the raga Sourashtram,
Thyagaraja brings out the Ananada which one can experience at every
level i.e. physical, emotional, intellectural and spiritual, by singing
Rama nama….
Rendered by Dr.BMK and group..
http://soundcloud.com/venkatakailasam/m ... -sourastra
In the keertana "Rama Rama Krishnayanere” in the raga Goulipanthu…sri tyagaraja asks people to sing in praise of the Lord to redeem themselves……Thyagaraja lists the common weaknesses in people and adds that, to get over the consequences of these sins and to avoid committing them again and again, we need to repeat the nama of the Lord…Who involve in mis-deeds repeatedly!
• Who go in for offensive words!
• Who, even after studying all sastras, became slaves of desires!
• Who, though envious of others’ prosperity, yet, utter kind words to them!
• Who speak nice words, but are fuming inside
• Who, though proficient in speaking, but are clue-less when questioned ! ( courtesy: Shri Govidan)…
This was rendered by Trichy Sadguru Samajam..
http://soundcloud.com/venkatakailasam/r ... goulipantu
People become wise by chanting ‘Rama Nama’ for which he himself is a standing proof…
He further emphasizes this in "Bhajana Seyave", in raga Kalyani….he wants the endless debate to be discontinued…The good that can be obtained through Saptaswara and Pranava naadha and realize bliss through Rama naama bhajana…
Rendered by Madurai Shri TN Sesha Gopalan....
http://soundcloud.com/venkatakailasam/b ... ani-rupaka
audio Kind courtesy..SP....
Rendered by Dr.BMK and group..
http://soundcloud.com/venkatakailasam/m ... -sourastra
In the keertana "Rama Rama Krishnayanere” in the raga Goulipanthu…sri tyagaraja asks people to sing in praise of the Lord to redeem themselves……Thyagaraja lists the common weaknesses in people and adds that, to get over the consequences of these sins and to avoid committing them again and again, we need to repeat the nama of the Lord…Who involve in mis-deeds repeatedly!
• Who go in for offensive words!
• Who, even after studying all sastras, became slaves of desires!
• Who, though envious of others’ prosperity, yet, utter kind words to them!
• Who speak nice words, but are fuming inside
• Who, though proficient in speaking, but are clue-less when questioned ! ( courtesy: Shri Govidan)…
This was rendered by Trichy Sadguru Samajam..
http://soundcloud.com/venkatakailasam/r ... goulipantu
People become wise by chanting ‘Rama Nama’ for which he himself is a standing proof…
He further emphasizes this in "Bhajana Seyave", in raga Kalyani….he wants the endless debate to be discontinued…The good that can be obtained through Saptaswara and Pranava naadha and realize bliss through Rama naama bhajana…
Rendered by Madurai Shri TN Sesha Gopalan....
http://soundcloud.com/venkatakailasam/b ... ani-rupaka
audio Kind courtesy..SP....
#34 - cmlover
Vkailasam
Nice of you to share Chtravina Ravikiran's mail to you. Unquestionably your service to CM community is remarkable.
We are proud to have you as a member here sharing unstintingly the best of CM as well as your own creative outpourings.
Do please share (in a separate thread) OVK songs with your artistic remix which are worth popularising among our Rasika community..
Nice of you to share Chtravina Ravikiran's mail to you. Unquestionably your service to CM community is remarkable.
We are proud to have you as a member here sharing unstintingly the best of CM as well as your own creative outpourings.
Do please share (in a separate thread) OVK songs with your artistic remix which are worth popularising among our Rasika community..
#35 - venkatakailasam
Thank you cml....otherwise a dry one..Your request regarding OVK' is like keeping panam kai on a sparrows head.....
Now further postings on Thyagaraja....
Reference to Ramayana have been made by Thyagaraja in his compositions…
Vadera Deivamu..Raga pantuvarali…Thyagaraja asserts that SrI RAma is the only God
and is the one who will get one salvation..
you can hear Priya Sisters..
http://www.youtube.com/watch?v=w1nr33W3bDE
His conviction that Sri Rama was the only emancipator can be seen further in his composition..
‘itara daivamula’ in the raga chaya tharangani..
Where he asks whether comfort is attainable from other Gods?
by Smt Mani Krishnaswamy
http://soundcloud.com/venkatakailasam/i ... atarangini
Thyagaraja in his kriti ‘E Paniko-Raga Asaveri- SrI TyAgarAja expresses his desire to compose glorifying Sri Rama as was done earlier by sage Valmiki and others…...
http://soundcloud.com/venkatakailasam/e ... veri-adi-a
‘Sri rama raghu rama’ in the Raga yadukulakambhoji Thyagaraja exclaims as to how fortunate they were all to have been able to associate with Him…
Kausalya - to kiss the Lord on His gleaming cheeks! Dasaratha - to address the Lord as ‘O sri rama, come here’!, lakshmana - to undertake service of the Lord to his heart’s content! Sage visvamitra - to exult beholding the Lord following him! Ahalya - to become a beautiful woman again, relieved of her distress! The bow of Lord Siva - to touch the holy feet of the Lord – the Embodiment of Righteousness! King janaka - to behold the Lord to the satiation of his eyes by offering his daughter to the Lord as wife! Sita - to hold the hand of the Lord as her heart melted away in bliss! Sage narada - to extol the Lord as the benefactor of this tyagaraja!
Shri Neduneri Krishnamurty
http://soundcloud.com/venkatakailasam/s ... a-yadukula
Now further postings on Thyagaraja....
Reference to Ramayana have been made by Thyagaraja in his compositions…
Vadera Deivamu..Raga pantuvarali…Thyagaraja asserts that SrI RAma is the only God
and is the one who will get one salvation..
you can hear Priya Sisters..
http://www.youtube.com/watch?v=w1nr33W3bDE
His conviction that Sri Rama was the only emancipator can be seen further in his composition..
‘itara daivamula’ in the raga chaya tharangani..
Where he asks whether comfort is attainable from other Gods?
by Smt Mani Krishnaswamy
http://soundcloud.com/venkatakailasam/i ... atarangini
Thyagaraja in his kriti ‘E Paniko-Raga Asaveri- SrI TyAgarAja expresses his desire to compose glorifying Sri Rama as was done earlier by sage Valmiki and others…...
http://soundcloud.com/venkatakailasam/e ... veri-adi-a
‘Sri rama raghu rama’ in the Raga yadukulakambhoji Thyagaraja exclaims as to how fortunate they were all to have been able to associate with Him…
Kausalya - to kiss the Lord on His gleaming cheeks! Dasaratha - to address the Lord as ‘O sri rama, come here’!, lakshmana - to undertake service of the Lord to his heart’s content! Sage visvamitra - to exult beholding the Lord following him! Ahalya - to become a beautiful woman again, relieved of her distress! The bow of Lord Siva - to touch the holy feet of the Lord – the Embodiment of Righteousness! King janaka - to behold the Lord to the satiation of his eyes by offering his daughter to the Lord as wife! Sita - to hold the hand of the Lord as her heart melted away in bliss! Sage narada - to extol the Lord as the benefactor of this tyagaraja!
Shri Neduneri Krishnamurty
http://soundcloud.com/venkatakailasam/s ... a-yadukula
#36 - venkatakailasam
Thyagaraja had a girl baby by his second wife
Kamalambal…as he lost his first wife parvathi..very early..He named her
Seetha lakshmi..Of the plenty of presents which he had received at the
marriage of Seethlakshmi. Thyagaraja liked a painting of Kothanda Rama
..of which he composed “Nannu palimpa Nadachi vachithivo” in the raga
Mohanam…
Ariyakudi rendering it here…
http://www.youtube.com/watch?v=6LEpQYiD ... re=related
In this song he asks Lord Rama whether he came by walk all the way to show his grace to him as he was always thinking and visualizing His lotus face.
Once a sanyasi came to his house for biksha. He had left with Thyagaraja some granthas related to music saying that he would come back after taking bath in the river Kaveri. Thyagaraja was waiting for him the whole day, but he did not return to take them back.
That night Thyagaraja had a dream in which the Sanyasi appeared and told him
that he was Narada muni..and came in the guise of sanyasi to give those rare Granthas. They are Secret Granthas. One is “SwararNavam” and the other one is “Naratheeyam.”
In the morning Thyagaraja looked at the granthas and found them to be relating to Sangeetha Sasthram. He felt greatly indebted to sage Narada for providing them...
Thyagaraja composed songs in tribute to sage Narada. The Bairavi Raga song ‘Sri Narada muni gururaya kanti’, Thyagaraja Says that he had vision of Naradha due to his good deeds in the past..( no audio is available for this song )
The Kaanada raga song ‘Sri Narada naadha’ that he had darshan of Narada.
In the kriti Sri Narada Naadha..he says that Narada is devoid of three types of sorrow. He is adored by devas. He is intimate to Sri Krishna. He is a ever cheerful sage who is a friend of the helpless and bestows prosperity. He derives divine music from Nadam…
Here is Mumbai Jayashree..
http://www.youtube.com/watch?v=tl56mGNe-RE
When he went Srirangam during Utsavam ,he could not get Darshan and while he sang “Rajuvedala judhamurare” in the raga Thodi when the people who were carrying the Lord got stuck up and could not move…When he was brought near the Lord , he sang “Vinaraathaa naamanavi” ,in the raga Deva Ghandari and after he was shown Theeparthanai and then they could move the Deity..
Thyagaraja composed the Sriranga pancha rathnam containing five songs on Lord Ranganatha..
You can hear all the five songs here…
http://www.youtube.com/watch?v=2M1tYeAzBk0
Ariyakudi rendering it here…
http://www.youtube.com/watch?v=6LEpQYiD ... re=related
In this song he asks Lord Rama whether he came by walk all the way to show his grace to him as he was always thinking and visualizing His lotus face.
Once a sanyasi came to his house for biksha. He had left with Thyagaraja some granthas related to music saying that he would come back after taking bath in the river Kaveri. Thyagaraja was waiting for him the whole day, but he did not return to take them back.
That night Thyagaraja had a dream in which the Sanyasi appeared and told him
that he was Narada muni..and came in the guise of sanyasi to give those rare Granthas. They are Secret Granthas. One is “SwararNavam” and the other one is “Naratheeyam.”
In the morning Thyagaraja looked at the granthas and found them to be relating to Sangeetha Sasthram. He felt greatly indebted to sage Narada for providing them...
Thyagaraja composed songs in tribute to sage Narada. The Bairavi Raga song ‘Sri Narada muni gururaya kanti’, Thyagaraja Says that he had vision of Naradha due to his good deeds in the past..( no audio is available for this song )
The Kaanada raga song ‘Sri Narada naadha’ that he had darshan of Narada.
In the kriti Sri Narada Naadha..he says that Narada is devoid of three types of sorrow. He is adored by devas. He is intimate to Sri Krishna. He is a ever cheerful sage who is a friend of the helpless and bestows prosperity. He derives divine music from Nadam…
Here is Mumbai Jayashree..
http://www.youtube.com/watch?v=tl56mGNe-RE
When he went Srirangam during Utsavam ,he could not get Darshan and while he sang “Rajuvedala judhamurare” in the raga Thodi when the people who were carrying the Lord got stuck up and could not move…When he was brought near the Lord , he sang “Vinaraathaa naamanavi” ,in the raga Deva Ghandari and after he was shown Theeparthanai and then they could move the Deity..
Thyagaraja composed the Sriranga pancha rathnam containing five songs on Lord Ranganatha..
You can hear all the five songs here…
http://www.youtube.com/watch?v=2M1tYeAzBk0
#37 - RaviSri
Sri Venkatakailasam, rAju veDala and vinarAda
are descriptions of the horse vAhanam at Srirangam. But rAju veDala
pertains to the horse vAhanam during daytime and vinarAda pertains to
the horse vAhanam at night time, though on the same day. rAju veDala
describes the Lord as wearing precious ornaments of navaratna, vinarAda
describes just the horse vAhana without the Lord wearing navaratnAs,
because, azhagiya maNavALan wears navaratnas only during the daytime
procession not during the night time procession. So this story of the
idol getting stuck and Thyagaraja singing vinarAda does not seem
authentic. I have read this 'story'. I know a few Srirangamites who
scoff at this story because it is totally impractical and laughable. The
story can be dismissed as someone's not so fertile imagination. rAju
veDAla was sung during daytime and vinarAda during night though on the
same day.
#38 - RaviSri
Of the five Srirangam songs, 'O rangasAyI' alone
was composed on the periya perumAL, the shayana tirukOlam. He clearly
mentions that he has come to have darshan of the muthangi sEvA (mutyAla
sarula yuramunu gAna vachiti). muthangi is a cloth which has gold and
diamonds and is worn by the Lord only during the vaikuNTA EkAdasi
festivel in mArgazhi (December-January).
We do not know on which day the Arabhi song jUtA murArE was composed, except that it is a song on the processional deity. That is obvious from the sAhitya.
rAju veDala and vinarAda nA manavi is as I have explained above composed on the day of the horse vAhanam.
The sArangA song 'karuNa jUDavayyA is interesting as it describes the Lord giving darshan along with the 2 nAchiyArs (srI dEvi and bhU dEvi) and the 12 Alwars. On no other day does He come out with the nAchiyArs or the Alwars. But this is not a procession. Afte Nammalwar mOkSham day, on Sankaranti day, i.e., on Pongal (usually January 14th) the Lord comes to the Sankaranti manTapam which is near the tAyAR (Sri Ranganayaki) sannidhi along with the nAchiyArs and the Alwars and partakes of all the neivEdyams offered there. Thyagaraja describes this in the sArangA song.
Upanishad Brahmam sent his srImukham inviting Thyagaraja to Kanchipuram. This was in the year 1835. On the way Thygaraja visited Lalgudi and also stayed at Srirangam for a period of time. It was the vaikuNta EkAdasi festivel in December 1835-January 1836. Consulting an astrological programme I discovered that in the year 1836, Pongal fell on January 14th. So, Thyagaraja composed the Saranga song 'karuNa jUDavayyA' on 14th January 1836. At least for this one song, we now have a date.
We do not know on which day the Arabhi song jUtA murArE was composed, except that it is a song on the processional deity. That is obvious from the sAhitya.
rAju veDala and vinarAda nA manavi is as I have explained above composed on the day of the horse vAhanam.
The sArangA song 'karuNa jUDavayyA is interesting as it describes the Lord giving darshan along with the 2 nAchiyArs (srI dEvi and bhU dEvi) and the 12 Alwars. On no other day does He come out with the nAchiyArs or the Alwars. But this is not a procession. Afte Nammalwar mOkSham day, on Sankaranti day, i.e., on Pongal (usually January 14th) the Lord comes to the Sankaranti manTapam which is near the tAyAR (Sri Ranganayaki) sannidhi along with the nAchiyArs and the Alwars and partakes of all the neivEdyams offered there. Thyagaraja describes this in the sArangA song.
Upanishad Brahmam sent his srImukham inviting Thyagaraja to Kanchipuram. This was in the year 1835. On the way Thygaraja visited Lalgudi and also stayed at Srirangam for a period of time. It was the vaikuNta EkAdasi festivel in December 1835-January 1836. Consulting an astrological programme I discovered that in the year 1836, Pongal fell on January 14th. So, Thyagaraja composed the Saranga song 'karuNa jUDavayyA' on 14th January 1836. At least for this one song, we now have a date.
#39 - venkatakailasam
RaviSri….
Thank you for your posting #37 and # 38…..which are quite educative…..
I do read your postings elsewhere too with interest…
Your fixing of the date of the song….in the raga Saranga 'karuNa jUDavayyA' as 14th January 1836 seems to have been arrived at logically..
But one thing is that such things do happen in the life of great composers who had darshan of the
Lord in one form or other….
In the case of MuthuSwami Dikshadar..everybody is aware of his song
Anandaamritakarshin or bringing rains to the parched lands near Ettayapuram. When the rains poured and he had to sing same kriti by changing the last line as 'stambhaya stambhaya stambhaya' in order to stop the downpour. And also the dream which his wife had and which changed her outlook…
Dikshadar was a Devi upasaka like Thyagaraja who was worshiping Sri Rama..
Again, there are example of the happenings in the life of Purandara…Jayadeva, kabhir, Arunagiri and a score of others..
What has been passed on to us from earlier generations to us cannot be, in my view, ignored as mere stories……
Thank you for your posting #37 and # 38…..which are quite educative…..
I do read your postings elsewhere too with interest…
Your fixing of the date of the song….in the raga Saranga 'karuNa jUDavayyA' as 14th January 1836 seems to have been arrived at logically..
But one thing is that such things do happen in the life of great composers who had darshan of the
Lord in one form or other….
In the case of MuthuSwami Dikshadar..everybody is aware of his song
Anandaamritakarshin or bringing rains to the parched lands near Ettayapuram. When the rains poured and he had to sing same kriti by changing the last line as 'stambhaya stambhaya stambhaya' in order to stop the downpour. And also the dream which his wife had and which changed her outlook…
Dikshadar was a Devi upasaka like Thyagaraja who was worshiping Sri Rama..
Again, there are example of the happenings in the life of Purandara…Jayadeva, kabhir, Arunagiri and a score of others..
What has been passed on to us from earlier generations to us cannot be, in my view, ignored as mere stories……
#40 - kittappa
Excellent piece of research and valuable
information RaviSri. Your perceptions have always been rational and
believable, both in conversation and in forum posts, be it here or the
now defunct sangeetham.com, and have contributed to a lot of truth
coming out with regard to the Trinity. Thanks a lot. I have seen the
kudirai vAhanam in Srirangam once, didn't know that Thyagaraja had
composed on that.
I have heard that the srImukham sent by Upanishad Brahmendra is now in Madurai. Do you know how it got there?
I have heard that the srImukham sent by Upanishad Brahmendra is now in Madurai. Do you know how it got there?
#41 - RaviSri
The srImukham was in the possession of Walajapet
Venkataramana Bhagavatar (WVB). Thyagaraja must have given it to him
when he visited Walajapet from Kanchipuram. WVB belonged to the
Saurashtra community. Somehow in later years the srImukham and the
manuscripts of WVB containing songs of Thyagaraja came to the Madurai
Saurashtra Sabha. Madurai has a very strong presence of the Saurashtra
community. WVB himself did not belong to Walajapet. His native place was
Aiyyampettai on the banks of the Kudamurutti in Thanjavur district.
This town (village) has a strong presence of weavers, all belonging to
the Saurashtra community. WVB married a lady from Walajapet and settled
down there. Every year WVB's Aradhana is being observed at Aiyyampettai.
#42 - venkatakailasam
Getting back to references to Ramayana in his krities which had taken a small digression,
In the song…. Elavatara-in raga mukhari,
He asks The Lord whether he was born as Sri Rama
for waging war Or for ruling over Ayodhya or for protecting those suffering or for giving a varam for Thyagaraja who had composed garland of songs in praise of the Lord?
You can have this...
Rendered by Smt. Smt. NC Vasantha kokilam..
http://www.youtube.com/watch?v=Pj-40sxK6us
Regarding the effects of touch of the holy feet of the Lord,
There are two incidents..one of Akalya and another of His breaking the Shiv’s Dhanus..
‘Sri Ramapadama” in raga Amirtha varshini…and ‘Nee pada pankaja”in Begada raga…
In Sri Rama padama , he says that the lotus feet which brought to life Akalya…the way side stone is worshiped by all…by Barhma, Sage sanaka, sage sanandana, Indra (vAsava), sage nArada (nAradulu) and others ..”Your grace is firmly implanted in my mind”
You can have this song by Smt Sudha Ragunathan…
http://www.youtube.com/watch?v=8uJXuOs3kOk
Reg .. Nee pada pankaja”in Begada.
Thyagaraja says that he is dependent on the Lotus feet of Shri Rama cherished by Lords Vishnu, Brahma, Siva and brahmana and sages which broke the bow of Lord Siva …
And relived Aklya of her distress…
And had also kicked away the weighty and huge head of Dundubhi, in order to remove the fear caused in the mind of SugrIva who was uncomfortable with the troubles of his brother vali…
Shri OS Thyagarajan is rendering it here..
http://www.youtube.com/watch?v=J0kUFBPrHjE
In the song…. Elavatara-in raga mukhari,
He asks The Lord whether he was born as Sri Rama
for waging war Or for ruling over Ayodhya or for protecting those suffering or for giving a varam for Thyagaraja who had composed garland of songs in praise of the Lord?
You can have this...
Rendered by Smt. Smt. NC Vasantha kokilam..
http://www.youtube.com/watch?v=Pj-40sxK6us
Regarding the effects of touch of the holy feet of the Lord,
There are two incidents..one of Akalya and another of His breaking the Shiv’s Dhanus..
‘Sri Ramapadama” in raga Amirtha varshini…and ‘Nee pada pankaja”in Begada raga…
In Sri Rama padama , he says that the lotus feet which brought to life Akalya…the way side stone is worshiped by all…by Barhma, Sage sanaka, sage sanandana, Indra (vAsava), sage nArada (nAradulu) and others ..”Your grace is firmly implanted in my mind”
You can have this song by Smt Sudha Ragunathan…
http://www.youtube.com/watch?v=8uJXuOs3kOk
Reg .. Nee pada pankaja”in Begada.
Thyagaraja says that he is dependent on the Lotus feet of Shri Rama cherished by Lords Vishnu, Brahma, Siva and brahmana and sages which broke the bow of Lord Siva …
And relived Aklya of her distress…
And had also kicked away the weighty and huge head of Dundubhi, in order to remove the fear caused in the mind of SugrIva who was uncomfortable with the troubles of his brother vali…
Shri OS Thyagarajan is rendering it here..
http://www.youtube.com/watch?v=J0kUFBPrHjE
#43 - venkatakailasam
One more song in this context is ‘Alakalalla”
in raga Madhamavati…when he was wondering as to how Royal Sage
Viswamitra would have admired the curly hairs of Sri Rama while Sri Rama
had tamed the demon MArIcha and also when He had understood the signal
from his eyes and broke the bow of Lord Siva…
Shri KVN has provided the song….
http://soundcloud.com/venkatakailasam/s ... ayanaswamy
After worrying at the small countenance of Sri Ram whether He will be able to break the bow,
Sita was happy and felt joy after the bow was broken…Thyagaraja pleads that he may be shown the same grace which Sri Rama shown to those assembled there that, 'this is how I protect those who seek me'. This is how Prahalada also pleads…
The song ‘Daya Seyavayya’ in raga Yadukulakhambhoji ...
Provided by Shri RK Srikantan...
http://soundcloud.com/venkatakailasam/shri-rk-srikantan
Shri KVN has provided the song….
http://soundcloud.com/venkatakailasam/s ... ayanaswamy
After worrying at the small countenance of Sri Ram whether He will be able to break the bow,
Sita was happy and felt joy after the bow was broken…Thyagaraja pleads that he may be shown the same grace which Sri Rama shown to those assembled there that, 'this is how I protect those who seek me'. This is how Prahalada also pleads…
The song ‘Daya Seyavayya’ in raga Yadukulakhambhoji ...
Provided by Shri RK Srikantan...
http://soundcloud.com/venkatakailasam/shri-rk-srikantan
Let us have a small deviation from “references to Ramayana..in Thyagarajar krities…
Guru..Sishya..
We all know that Thyagaraja was a disciple of Sonti Venkata Ramanaiya . As Thyagaraja was a talented sishya and had great proficiency raga lakshanas and kalpana swaras, his guru was proud of his student and he wanted to bring out his talent before music lovers.
So, He invited people who had knowledge in sampradaya sangitham …
Thyagaraja rendered his own composition “Dhorakuna iDuvaNti seva,” in Raga Bilahari
The song describes the beauty of Lord Vishnu wearing ornaments and pattu pithambaram…
HE was relaxing on Adisesha …
Devi was admiring His beauty.
Thumburu and Narada singing praising Him…
Ambarisha and others were singing bajans…
Aapsaras were dancing,..
Brahma and Indra were standing on HIS either side…
Thyagaraja was pushing the swing slowly and singing in praise of the Lord…
He Wonders whether even those Rishis and Devas have such a privilege to perform this kind of Seva to the Lord....
While all were praising Thyagaraja, His guru’s remarked whether can anyone have such a sihya…‘Dhorakuna IduvaNti sishyudu’
Thyagaraja rendered some more songs and after that his guru gave him lot of gifts that he himself had received including rare books on Musicology which belonged to Sonti Venkataramanaiya’s maternal grandfather.
Thyagaraja studied those books in earnest and learned a lot and used them when he composed songs.
“Dhorakuna iDuvaNti seva” is rendered by Dr. S Ramanathan…
http://jumbofiles.com/k5z4qfr5rabu/S-Ra ... n-DorakunA ituvanti-bilahari-Adi.mp3.html
Guru..Sishya..
We all know that Thyagaraja was a disciple of Sonti Venkata Ramanaiya . As Thyagaraja was a talented sishya and had great proficiency raga lakshanas and kalpana swaras, his guru was proud of his student and he wanted to bring out his talent before music lovers.
So, He invited people who had knowledge in sampradaya sangitham …
Thyagaraja rendered his own composition “Dhorakuna iDuvaNti seva,” in Raga Bilahari
The song describes the beauty of Lord Vishnu wearing ornaments and pattu pithambaram…
HE was relaxing on Adisesha …
Devi was admiring His beauty.
Thumburu and Narada singing praising Him…
Ambarisha and others were singing bajans…
Aapsaras were dancing,..
Brahma and Indra were standing on HIS either side…
Thyagaraja was pushing the swing slowly and singing in praise of the Lord…
He Wonders whether even those Rishis and Devas have such a privilege to perform this kind of Seva to the Lord....
While all were praising Thyagaraja, His guru’s remarked whether can anyone have such a sihya…‘Dhorakuna IduvaNti sishyudu’
Thyagaraja rendered some more songs and after that his guru gave him lot of gifts that he himself had received including rare books on Musicology which belonged to Sonti Venkataramanaiya’s maternal grandfather.
Thyagaraja studied those books in earnest and learned a lot and used them when he composed songs.
“Dhorakuna iDuvaNti seva” is rendered by Dr. S Ramanathan…
http://jumbofiles.com/k5z4qfr5rabu/S-Ra ... n-DorakunA ituvanti-bilahari-Adi.mp3.html
On his way back from kovor ,Thyagaraja had darshan of Thiripura Sundari at Thruvotriyur…
He composed Thruvotriyur pancharatna krities in praise of the deity…in ragas Kalyani, Begada, Suddha saveri, Arabi and Saveri..praising her beauty and her benevolence towards her devotees..
Please listen to them rendered by Dr. BMK- Smt. NCV- Dr.MLV- Smt. Vijayamurthy- Mysore Doraiswamy Iyengar…
http://www.youtube.com/watch?v=hfFnp75eL8U
There are different point of views as to whether Dikshadar has ever met Thyagaraja..We know that that the trinities are contemporaries and belong to same place…Is it possible for them not to have met…
While there is no controversy regarding meeting of Shyama Sastri and Thyagaraja, evidences are put forth by Shri RaviSri that Dikshadar has not met Thyagaraja…..
There are others whose views are different…..”Once Thygaraja invited Dikshidhar to his house to see him performing puja to his beloved Rama. Dikshidhar was very much impressed by the divine atmosphere at Thyagaraja’s house. Thyagaraja rendered the song on Bhairavi Raga “Koluvai unnade” in which he invites all to have darshan of Ram and Sita who are sitting on the simhasanam with all splendour.
Smt MS Subhu lakshmi-koluvai-yunnAde-Bhairavi-Adi.mp3 - 7.6 Mb
Dikshidhar also was very much inspired by the Divine atmosphere. Then he also started singing his Manirangu raga kirthana “Mamava Pattabhi Rama,” describing the beauty of Rama on his crowning ceremony.”
These are view put forth by others....
We hold no views ...
He composed Thruvotriyur pancharatna krities in praise of the deity…in ragas Kalyani, Begada, Suddha saveri, Arabi and Saveri..praising her beauty and her benevolence towards her devotees..
Please listen to them rendered by Dr. BMK- Smt. NCV- Dr.MLV- Smt. Vijayamurthy- Mysore Doraiswamy Iyengar…
http://www.youtube.com/watch?v=hfFnp75eL8U
There are different point of views as to whether Dikshadar has ever met Thyagaraja..We know that that the trinities are contemporaries and belong to same place…Is it possible for them not to have met…
While there is no controversy regarding meeting of Shyama Sastri and Thyagaraja, evidences are put forth by Shri RaviSri that Dikshadar has not met Thyagaraja…..
There are others whose views are different…..”Once Thygaraja invited Dikshidhar to his house to see him performing puja to his beloved Rama. Dikshidhar was very much impressed by the divine atmosphere at Thyagaraja’s house. Thyagaraja rendered the song on Bhairavi Raga “Koluvai unnade” in which he invites all to have darshan of Ram and Sita who are sitting on the simhasanam with all splendour.
Smt MS Subhu lakshmi-koluvai-yunnAde-Bhairavi-Adi.mp3 - 7.6 Mb
Dikshidhar also was very much inspired by the Divine atmosphere. Then he also started singing his Manirangu raga kirthana “Mamava Pattabhi Rama,” describing the beauty of Rama on his crowning ceremony.”
These are view put forth by others....
We hold no views ...
RaviSri
01 Aug 2012 11:56
Dear Sri Venkatakailasam, I have never put forth
any views saying that Thyagaraja and Dikshitar never met. All I did in
my biography of Dikshitar on sangeetham.com was to give the incident as I
had read/heard it. I have mentioned that 'An account is traditionally
handed down of the meeting between Tyagaraja and Dikshitar. It is said
that...........'
My view on this is clear: The two might have met given the fact that Dikshitar visited Tiruvaiyyaru and sang 'dharmasamvardhyani' there. Dikshitar lived for four years in Thanjavur teaching the Tanjore Quartette and interacting with Shyama Sastri. I personally feel that there is a strong possibility of the two having met though there is no real evidence.
I have given my write-up below. This was written ten years ago in 2002.
-------------------------------------------------------
An account is traditionally handed down of the meeting between Tyagaraja and Dikshitar. It is said that when Dikshitar was singing his madhyamAvati composition ‘dharmasamvardhani’ at the temple, a few of Tyagaraja's disciples were present there. Savouring the exquisite music, they enquired of one of Dikshitar's disciples and gathered details about the composer. They then hurried to their guru and told him of Dikshitar and his music. It was not that Tyagaraja was hearing about Dikshitar for the first time. Great mahApuruShAs are certainly aware of each other, only that they do not reveal their inner cognition. Dikshitar too must have heard of Tyagaraja from many people and most certainly from Shyama Sastri. He must also have listened to the bard's compositions. Tyagaraja asked his disciples to invite Dikshitar home. The bard's disciples returned to the temple and informed Dikshitar of Tyagaraja's invitation, which the former accepted. Tyagaraja regularly recited the Valmiki Ramayana. On that day he had come to the episode of the coronation of Sri Rama. Could there be a greater occasion for the two puruShOthamAs of music to meet than the paTTAbhiShEka day of the Purushothama Himself? Tirumanjana vIdhi is just a stone's throw from the Panchanadeeswara temple.
The bard rose to meet his younger, nevertheless equal contemporary. After mutual respects were over, Tyagaraja requested Dikshitar to stay on and witness the pUja which he performed after the Ramayana recitation. The Rama dAsA's worship on that paTTAbhiShEka day thus acquired a special sacredness. A big crowd of disciples and residents of Tiruvaiyyaru gathered to witness that momentous event. It was a surcharged atmosphere. After the pUja, dIpArAdhanA and ShODasha upachArAs, Tyagaraja bade his disciples sing. It was to be his bhairavi masterpiece koluvaiyunnADe. The whole of Tirumanjana street resonated with the song of its renowned resident. Tyagaraja slowly turned to Dikshitar and requested him to sing on 'my Rama'. The small but majestic, centuries old paTTAbhiShEka icon of Rama with Sri Sita, Bharata, Lakshmana and Shatrugna, complete with the maNTapa and worshipped by Tyagaraja's ancestors and bequeathed to him as heirloom is truly awe-inspiring. Its spiritual power is quite discernible to those who approach it with utmost reverence. What wonder then that Dikshitar sat enraptured?
Was it the mystical power of the icon or the deeply religious atmosphere that pervaded the entire place or the bard's own powerful spiritual presence? It was perhaps a combination of all the three that inspired Dikshitar to dive deep within, to tap his innermost artistic resources. The strain that came out of his very depths, out of his very being had to be special. And it was. The rare maNirangu discovered itself. Dikshitar built a grand edifice for the rAga and bestowed immortality on it. It was an extraordinary edifice, a grandly decorated manTapa (maNirangavalli alankrita maNTapE) studded with the gems of exquisite gamakAs and phrases that Dikshitar gifted to the rAga and made it fit for Tyagaraja's Rama to revel in. The misra chApu tALa that Dikshitar chose for its rhythm was the most appropriate foil. mAmava paTTAbhirAma, a classic par excellence was Dikshitars tribute to Tyagaraja's beloved Rama. The song describes the coronation of Sri Rama in exactly the same manner as Valmiki's Ramayana. The kriti was also appropriate to the occasion and the spirited, sublime music coupled with the majestic sAhitya enshrined the presence of the Lord in the hearts of those who had the great fortune of listening to it. The residents of Tiruvaiyyaru who witnessed the momentous meeting between the two high priests of art music felt elevated and the event took eternal place in their hearts. Such rare, sublime occurrings are seldom spoken of too. The Eternal Cauvery, whose privilege it was to host this great event must have felt proud at the meeting and outstanding accomplishments of Her two children, one, the Eternal Pilgrim, the other, the Eternal Minstrel.
My view on this is clear: The two might have met given the fact that Dikshitar visited Tiruvaiyyaru and sang 'dharmasamvardhyani' there. Dikshitar lived for four years in Thanjavur teaching the Tanjore Quartette and interacting with Shyama Sastri. I personally feel that there is a strong possibility of the two having met though there is no real evidence.
I have given my write-up below. This was written ten years ago in 2002.
-------------------------------------------------------
An account is traditionally handed down of the meeting between Tyagaraja and Dikshitar. It is said that when Dikshitar was singing his madhyamAvati composition ‘dharmasamvardhani’ at the temple, a few of Tyagaraja's disciples were present there. Savouring the exquisite music, they enquired of one of Dikshitar's disciples and gathered details about the composer. They then hurried to their guru and told him of Dikshitar and his music. It was not that Tyagaraja was hearing about Dikshitar for the first time. Great mahApuruShAs are certainly aware of each other, only that they do not reveal their inner cognition. Dikshitar too must have heard of Tyagaraja from many people and most certainly from Shyama Sastri. He must also have listened to the bard's compositions. Tyagaraja asked his disciples to invite Dikshitar home. The bard's disciples returned to the temple and informed Dikshitar of Tyagaraja's invitation, which the former accepted. Tyagaraja regularly recited the Valmiki Ramayana. On that day he had come to the episode of the coronation of Sri Rama. Could there be a greater occasion for the two puruShOthamAs of music to meet than the paTTAbhiShEka day of the Purushothama Himself? Tirumanjana vIdhi is just a stone's throw from the Panchanadeeswara temple.
The bard rose to meet his younger, nevertheless equal contemporary. After mutual respects were over, Tyagaraja requested Dikshitar to stay on and witness the pUja which he performed after the Ramayana recitation. The Rama dAsA's worship on that paTTAbhiShEka day thus acquired a special sacredness. A big crowd of disciples and residents of Tiruvaiyyaru gathered to witness that momentous event. It was a surcharged atmosphere. After the pUja, dIpArAdhanA and ShODasha upachArAs, Tyagaraja bade his disciples sing. It was to be his bhairavi masterpiece koluvaiyunnADe. The whole of Tirumanjana street resonated with the song of its renowned resident. Tyagaraja slowly turned to Dikshitar and requested him to sing on 'my Rama'. The small but majestic, centuries old paTTAbhiShEka icon of Rama with Sri Sita, Bharata, Lakshmana and Shatrugna, complete with the maNTapa and worshipped by Tyagaraja's ancestors and bequeathed to him as heirloom is truly awe-inspiring. Its spiritual power is quite discernible to those who approach it with utmost reverence. What wonder then that Dikshitar sat enraptured?
Was it the mystical power of the icon or the deeply religious atmosphere that pervaded the entire place or the bard's own powerful spiritual presence? It was perhaps a combination of all the three that inspired Dikshitar to dive deep within, to tap his innermost artistic resources. The strain that came out of his very depths, out of his very being had to be special. And it was. The rare maNirangu discovered itself. Dikshitar built a grand edifice for the rAga and bestowed immortality on it. It was an extraordinary edifice, a grandly decorated manTapa (maNirangavalli alankrita maNTapE) studded with the gems of exquisite gamakAs and phrases that Dikshitar gifted to the rAga and made it fit for Tyagaraja's Rama to revel in. The misra chApu tALa that Dikshitar chose for its rhythm was the most appropriate foil. mAmava paTTAbhirAma, a classic par excellence was Dikshitars tribute to Tyagaraja's beloved Rama. The song describes the coronation of Sri Rama in exactly the same manner as Valmiki's Ramayana. The kriti was also appropriate to the occasion and the spirited, sublime music coupled with the majestic sAhitya enshrined the presence of the Lord in the hearts of those who had the great fortune of listening to it. The residents of Tiruvaiyyaru who witnessed the momentous meeting between the two high priests of art music felt elevated and the event took eternal place in their hearts. Such rare, sublime occurrings are seldom spoken of too. The Eternal Cauvery, whose privilege it was to host this great event must have felt proud at the meeting and outstanding accomplishments of Her two children, one, the Eternal Pilgrim, the other, the Eternal Minstrel.
Dear Shri. SriRavi..
In your post #15 at viewtopic.php?f=2&t=12990,you have stated ...." As for Thyagaraja-Dikshitar meeting there is absolutely no evidence, excepting that Dikshitar wrote 'Dharmasamvardani' on the Goddess of Tiruvaiyyaru"...possibly I have misread this statement and I stand corrected in view of your posting of date here...
In your post #15 at viewtopic.php?f=2&t=12990,you have stated ...." As for Thyagaraja-Dikshitar meeting there is absolutely no evidence, excepting that Dikshitar wrote 'Dharmasamvardani' on the Goddess of Tiruvaiyyaru"...possibly I have misread this statement and I stand corrected in view of your posting of date here...
In the song Ramachandra ni daya……
SrI tyAgarAja pleads with Lord to show His grace early..
Was the delay due to… the suffering undergone by Him in the forest? Or Due to the anger towards kaikEyI? Or because He has lost His power or because Sita had rebuked Him when He was not willing to take her along with Him to the forest or due to any sin or crime committed by thyagaraja..
Shri Sanjay subramaniam has rendered this song…
http://jumbofiles.com/ymbs77p2m7ot/010- ... y.mp3.html
In the kriti.. E ramuni nammitino – vakulabharanam, thyagaraja narrates a series of incidents and says that he seeks protection from the mighty Sri Rama …
-kind of flowers I worshipped him with…
-Sri Rama who fought with the enemies of his devotees and curb their arrogance..
-Sri Rama who killed demon Kakasura…
-Srirama killed Vali and restored Sugriva's kingdom and family to him..
-Rama killed Ravana and crowned Vibishna as the king of lanka..
Chitoor Subramaniya pillai has rendered this song..
031-E-rAmuni-nammitinO--vakulABharaNa--Triputa--Chitoor Subramania Pillai.mp3 - 3.2 Mb
SrI tyAgarAja pleads with Lord to show His grace early..
Was the delay due to… the suffering undergone by Him in the forest? Or Due to the anger towards kaikEyI? Or because He has lost His power or because Sita had rebuked Him when He was not willing to take her along with Him to the forest or due to any sin or crime committed by thyagaraja..
Shri Sanjay subramaniam has rendered this song…
http://jumbofiles.com/ymbs77p2m7ot/010- ... y.mp3.html
In the kriti.. E ramuni nammitino – vakulabharanam, thyagaraja narrates a series of incidents and says that he seeks protection from the mighty Sri Rama …
-kind of flowers I worshipped him with…
-Sri Rama who fought with the enemies of his devotees and curb their arrogance..
-Sri Rama who killed demon Kakasura…
-Srirama killed Vali and restored Sugriva's kingdom and family to him..
-Rama killed Ravana and crowned Vibishna as the king of lanka..
Chitoor Subramaniya pillai has rendered this song..
031-E-rAmuni-nammitinO--vakulABharaNa--Triputa--Chitoor Subramania Pillai.mp3 - 3.2 Mb
There is yet another song where he pleads Sri Rama to protect him….
In the song chinna nADE in raga kaLAnidhi ….he says that the virtuous Lord who had held his hand even from childhood should not abandon him …as he had done all kind of services to the Lord..
This was rendered by Dr S Ramanathan…..
http://jumbofiles.com/r5t1mv2iow6f/009- ... n.mp3.html
Thyagaraja had a curious doubt…He wants to know
as to which is superior – whether His Feet worshiped by Sananda and others and meditated upon by illustrious sages or
The elegant pair of sandals of His Feet worshipped by Bharata…
Now, listen to the song ....
Sandehamunu in the raga ramapriya by Smt. Mangalam Sankar..
http://jumbofiles.com/hkai5zkjaq3w/sand ... r.mp3.html
In the krithi sari evvare zri janaki ni..
Thyagaraja has full praise of Sita devi…
There is none to equal to her who had served Him by remaining together for providing comforts always..even in the dreaded forest by her determination to stay with Sri Rama..
Listen to this song by Raha Jayalakshmi..
http://jumbofiles.com/bwww11e7qel2/R & J-Sariyevvare-Sriranjani-Adhi-Thyagarajar.mp3.html
In the song chinna nADE in raga kaLAnidhi ….he says that the virtuous Lord who had held his hand even from childhood should not abandon him …as he had done all kind of services to the Lord..
This was rendered by Dr S Ramanathan…..
http://jumbofiles.com/r5t1mv2iow6f/009- ... n.mp3.html
Thyagaraja had a curious doubt…He wants to know
as to which is superior – whether His Feet worshiped by Sananda and others and meditated upon by illustrious sages or
The elegant pair of sandals of His Feet worshipped by Bharata…
Now, listen to the song ....
Sandehamunu in the raga ramapriya by Smt. Mangalam Sankar..
http://jumbofiles.com/hkai5zkjaq3w/sand ... r.mp3.html
In the krithi sari evvare zri janaki ni..
Thyagaraja has full praise of Sita devi…
There is none to equal to her who had served Him by remaining together for providing comforts always..even in the dreaded forest by her determination to stay with Sri Rama..
Listen to this song by Raha Jayalakshmi..
http://jumbofiles.com/bwww11e7qel2/R & J-Sariyevvare-Sriranjani-Adhi-Thyagarajar.mp3.html
Papanasa Mudaliyar (1650–1725) was an early Carnatic music composer …
His composition 'nadamAdittirintha' in Kambhoji ragam is an example of the Nindastuti
style in musical compositions wherein the superficial meaning of the song seems to
ridicule the deity…
Tyagaraja followed this in songs like Adigi sukhamu in Madhyamavathi raga.
What one desires of Sri Rama are not fulfilled…Thyagaraja gives examples of :
Sita’s desire to see hermitages resulting in her suffering in forests….
Surpanakha desired Rama, but she lost her ear and nose ..
Narada’s curiousity to know God's Maya, resulted in his having changed into a woman….
Doorvasa lost his appetite when he asked for food..
Devaki’s desire to have a child to play with resulted in Yasoda’s pleasure..
Gopikakas have to desert their husbands while longing for Krishna..
You are showing this kind of mercy to your devotees…!!!
This was rendered by Smt. DK Pattammal..
http://jumbofiles.com/ghenmv8ixdth/014- ... P.mp3.html
In the song, ‘enthani nE’ in raga mukhaari, thyagaraja says that sabari was the most fortunate woman....
Who was able to see and worship Sri Rama before her eyes…
Was able to provide the choicest of fruits to Him..
Was able to get rid of worldly bondage and attained moksha..
Arikudi Shri Ramanuja Iyengar has rendered this song...
http://jumbofiles.com/1siyezdervf2/p-ARI 029-entanine--mukhAri--rUpaka--ARI.mp3.html
His composition 'nadamAdittirintha' in Kambhoji ragam is an example of the Nindastuti
style in musical compositions wherein the superficial meaning of the song seems to
ridicule the deity…
Tyagaraja followed this in songs like Adigi sukhamu in Madhyamavathi raga.
What one desires of Sri Rama are not fulfilled…Thyagaraja gives examples of :
Sita’s desire to see hermitages resulting in her suffering in forests….
Surpanakha desired Rama, but she lost her ear and nose ..
Narada’s curiousity to know God's Maya, resulted in his having changed into a woman….
Doorvasa lost his appetite when he asked for food..
Devaki’s desire to have a child to play with resulted in Yasoda’s pleasure..
Gopikakas have to desert their husbands while longing for Krishna..
You are showing this kind of mercy to your devotees…!!!
This was rendered by Smt. DK Pattammal..
http://jumbofiles.com/ghenmv8ixdth/014- ... P.mp3.html
In the song, ‘enthani nE’ in raga mukhaari, thyagaraja says that sabari was the most fortunate woman....
Who was able to see and worship Sri Rama before her eyes…
Was able to provide the choicest of fruits to Him..
Was able to get rid of worldly bondage and attained moksha..
Arikudi Shri Ramanuja Iyengar has rendered this song...
http://jumbofiles.com/1siyezdervf2/p-ARI 029-entanine--mukhAri--rUpaka--ARI.mp3.html
Gita rathamu…
Meaning:
O Mind! To understand the significance (arthamu) of the (Bhagavad) Gita and the bliss (ananda) of music, you have only to delve deep into your heart and behold them in their Supreme grandeur. Sri Anjaneya (Vataatmaja) is an eternal witness of this truth, since he treasures the blessed feet (charana) of the Lord (pati) of Sita in the innermost recesses of his heart. Anjaneya is well versed in the five creeds centered around Hari, Hara, Aditya, eternal time Kala and the Karma. This gem of a devotee, beloved of the Lord, worshipped by Indra is in perpetual bliss a
Brahma, can understand and describe and praise them adequately. After creating all the maaya (illusion), you then claim you had nothing to do with them!
Once upon a time, when you asked Arjuna, a human, to destroy the Kauravas, he agonized saying it would be a sin. You, NaaraayaNaa assured him that the effects of that destruction would not be a sin that would adversely affect him, and you gave him salvation…
Listen to SG Kittappa…
http://www.youtube.com/watch?v=GOInk943TnQ
In the krti ‘vacamagocarame’ – raga kaikavazi, Sri Tyagaraja relates two incidents to illustrate the greatness of Sri Rama.
How is it possible to describe the greatness of Sri Rama? It is beyond words.
Understanding the mind of Seethamma to make a fan out of the deer’s tail, Lord madhava shoots an arrow to sever the tail of the deer. The deer senseing the arrow, turns its neck towards the arrow ,preferring to die and to save its honour rather than losing its hair. Understanding ,what is going on in its mind the Lord, embodiment of Karunya taking pity, sends another arrow to destroy the first arrow which was already on its way to the target.
”First-Understanding one’s mind:
Seetha did not have to ask- He knew (maanavathi madhinerigi).
The deer did not have to ask for 'prana danam'. In fact, quite the opposite, it wanted to offer its life. But He came to its rescue.
Second, the compassion: Saving the deer's life is even more important to him than satisfying the whims of his consort because he is the saviour of the sufferer (dheenaarthi bhanjanudai).
Third, the speed of response (vegame… munnu chanina baanambunattu chedara jeya ledha).
Kamban says 'Edutthadu kandanar, ittradu kettaar' to tell us the speed with which he handled the Shivadhanus. Raamabaana works at literally the manovegam.
Even in these days of ballistic guided missiles, you may not be able to recall or destroy a missile already locked on to its target, before it causes its lethal effect.
Going back to the anupallavi, you will delight at the tale of yet another deer, the Maareecha 'maaya maan'.
Again to fulfill the wish of the Seetha;
But with how different is the result! Naturally, the qualities of such a perfect being are beyond what can be expressed by word or grasped by thought (vaachamagocharame), says Thyagaraaja “
Bharat Ratna MS Subbulakshmi-The Story of Two Deers
http://www.youtube.com/watch?v=wLrWs-6oEjE
Meaning:
O Mind! To understand the significance (arthamu) of the (Bhagavad) Gita and the bliss (ananda) of music, you have only to delve deep into your heart and behold them in their Supreme grandeur. Sri Anjaneya (Vataatmaja) is an eternal witness of this truth, since he treasures the blessed feet (charana) of the Lord (pati) of Sita in the innermost recesses of his heart. Anjaneya is well versed in the five creeds centered around Hari, Hara, Aditya, eternal time Kala and the Karma. This gem of a devotee, beloved of the Lord, worshipped by Indra is in perpetual bliss a
Brahma, can understand and describe and praise them adequately. After creating all the maaya (illusion), you then claim you had nothing to do with them!
Once upon a time, when you asked Arjuna, a human, to destroy the Kauravas, he agonized saying it would be a sin. You, NaaraayaNaa assured him that the effects of that destruction would not be a sin that would adversely affect him, and you gave him salvation…
Listen to SG Kittappa…
http://www.youtube.com/watch?v=GOInk943TnQ
In the krti ‘vacamagocarame’ – raga kaikavazi, Sri Tyagaraja relates two incidents to illustrate the greatness of Sri Rama.
How is it possible to describe the greatness of Sri Rama? It is beyond words.
Understanding the mind of Seethamma to make a fan out of the deer’s tail, Lord madhava shoots an arrow to sever the tail of the deer. The deer senseing the arrow, turns its neck towards the arrow ,preferring to die and to save its honour rather than losing its hair. Understanding ,what is going on in its mind the Lord, embodiment of Karunya taking pity, sends another arrow to destroy the first arrow which was already on its way to the target.
”First-Understanding one’s mind:
Seetha did not have to ask- He knew (maanavathi madhinerigi).
The deer did not have to ask for 'prana danam'. In fact, quite the opposite, it wanted to offer its life. But He came to its rescue.
Second, the compassion: Saving the deer's life is even more important to him than satisfying the whims of his consort because he is the saviour of the sufferer (dheenaarthi bhanjanudai).
Third, the speed of response (vegame… munnu chanina baanambunattu chedara jeya ledha).
Kamban says 'Edutthadu kandanar, ittradu kettaar' to tell us the speed with which he handled the Shivadhanus. Raamabaana works at literally the manovegam.
Even in these days of ballistic guided missiles, you may not be able to recall or destroy a missile already locked on to its target, before it causes its lethal effect.
Going back to the anupallavi, you will delight at the tale of yet another deer, the Maareecha 'maaya maan'.
Again to fulfill the wish of the Seetha;
But with how different is the result! Naturally, the qualities of such a perfect being are beyond what can be expressed by word or grasped by thought (vaachamagocharame), says Thyagaraaja “
Bharat Ratna MS Subbulakshmi-The Story of Two Deers
http://www.youtube.com/watch?v=wLrWs-6oEjE
