Thyagaraja - The Great Composer

This is a reprint of the article that appeared under Culture in Chandamama, U.S. and Canada Edition

Ram S. Sriram

I often travel within U.S. and Canada to accompany visiting Carnatic musicians on the mirudangam or to speak at universities about Indian music. A question that is frequently asked during these visits, not only by Westerners but also by people of Indian-origin is, "Is Indian music, religious music?" My answer is: Yes and No.

The word 'religion' can be interpreted in many ways. If we interpret 'religion' to mean the faith, practices and biases of a specific community, then no, Indian music is not religious music. If we interpret 'religion' to mean a path that guides us to universal values - values that help us rise above prejudices and limitations and realize the true purpose of our lives - then yes, Indian music is religious music. Yeats, the famous Irish poet, says that while it is complex in theory and practice, Indian music is not just an art but description of life itself.

Indian classical music is one of the oldest, if not the oldest music system, in the world. As early as 400 B. C., classical music systems began to develop in India. The Vedas, written thousands of years ago provide the earliest reference to Indian music. One of the ritual elements of the Vedas is the chant. The chants are musical expositions and are used for individual and group recitation of mantras. Epic stories such as the Ramayana and the Mahabharatha, the Buddhist scriptures and the Brahminical literature also provide references to music and musicians. Similar references to the development of music can be found in the medieval and modern literatures. Further analysis of this literature shows that while the compositions frequently used religious and mythological anecdotes, music, as an art, had developed independently of the Hindu religions. Music was not treated as an integral part of the religious rituals but as a separate cultured and aesthetic activity. In other words, in India, music was always considered a secular art.

If Indian music is indeed a secular art, then why does it contain so many mythological and religious references? Music, like any other art form, is created by people and is an expression of their lives and culture. For thousands of years, the heroes and villains of mythology were household names in India. The legends and tales of these heroes and villains filled Indian households and even today, they are featured prominently in films, magazines and comic books. The stories have created larger-than-life images of these characters and produced reverence and awe in the minds of children and adults alike. Therefore, it is no surprise that, to the Indian poets and composers, the mythological stories and the players from these stories were a never-ending source to decorate and embellish the music. Although the composers viewed music as a divine activity, they did not use these stories as an excuse to promote their personal agenda or publicize religious faith or orchestrated rituals. In their view, music is a powerful tool and it must be used to affect social change -- to convey important social messages and the central truths of human existence.

The twin belief that music is a divine activity and music can be used to trigger social change - encouraged these poets and composers to draw examples from Hindu mythology. The composers believed that using mythology and religion as a background would be an effective way to convey the sublime messages of wisdom put forth by visionaries throughout the ages. People can identify with the mythological and religious stories that they grew up hearing. Thus, with the addition of music to the description of gods and goddesses and their lives, the listener can be transported from the ordinary world to a higher spiritual and moral world. We can find support for these notions in thousands of compositions written by hundreds of composers. However, I will cite from the work of one of the best-known music composers of Indian music, Saint Thyagaraja.

Saint Thyagaraja lived in Tiruvayar, a small hamlet on the banks of the river Cauvery in Tamilnadu. Thyagaraja was born in a society that was divided by caste. The people from his community followed the religious rituals meticulously but ignored the inner wisdom and meaning of these rituals. Thyagaraja, a revolutionary, decided that he should use his compositions to highlight the society's ills and point to values and conduct necessary to overcome these ills. Drawing frequently from the Ramayana and its hero, Rama (an incarnation of Vishnu), Thyagaraja illustrated the importance of ethical and moral conduct in several of his compositions. He described Rama's life and how Rama accepted misery with fortitude and never swerved from the righteous path. Although Thyagaraja worshipped Rama and used Rama as the principal character in most of his compositions, he never promoted Rama as the only god or his religious beliefs as the only path to salvation. On the contrary, he advises us against using our religion or beliefs to discriminate against people of different faiths. In the words of Thyagaraja, God does not care whether you are an Advaitist or a Dwaitist (followers of the two major Hindu philosophies). For the truly liberated, labels and names make no difference. A truly religious person is one who transcends divisions and denominations (in other words, it does not matter whether you are a Hindu, a Christian, or a Muslim).

Thyagaraja's compositions also contain messages about every day life and its activities. He claims that the purpose of education should not be to earn money or to publicize one's accomplishments. Education should be used to mold ones character and knowledge must be used to benefit ones society. A donkey or a mule that carries a load of books on its back does not become a scholar. Likewise, Thyagaraja also criticizes blind adherence to religious rites without understanding the true meaning behind these rituals. He says rituals for rituals' sake is useless; one must strive to use the ritualistic practices to develop mental discipline. "What is the purpose in doing pooja by ringing a bell, burning camphor, and sitting cross legged, if all the while your mind is racing and thinking of money, wealth, and power?" The birds and the fish bathe in water several times a day. Does that make them spiritually liberated? The Stork and the Crane stand on the banks of the river on one leg. Does that mean they are doing penance and praying? They too are following their own rituals but cannot claim spiritual enlightenment from this alone. The religious rituals are vital to our lives. But, like the stork and the crane, the rituals should not be used to obtain immediate gratification but should be used to cleanse ourselves physically and mentally.

On personal responsibilities, Thyagaraja says that we are responsible for our actions. "No one else is responsible but I for my happiness and sorrow." There is no point in asking an external God to save us from internal misery. Inside each of us there resides a God and a Devil. Poets and philosophers from other cultures also emphasize this view. Schopenhauer, the German philosopher, says, "If you are looking for God outside of yourself you are wasting your time." Jalaludhin Rumi, the Iranian poet, says, "If you want to see the devil, look into the mirror." But the interplay between the devil and God within ourselves is the age-old drama that makes us either strive for personal greatness or succumb to the pursuit of worldly possessions. This interplay is also reinforced by Thyagaraja's message. The religious anecdotes and references are only a means to an end. The ultimate objective is examining our society, our lives, and our environment and improving our surroundings. Religious stories merely dramatize these messages and help the listener in relating to the true meaning of what is being said. Thus I conclude that using examples from religion and mythology do not make the songs religious music. The illustrative tools are simply one more component within the system of music that complement the other components such as notes, rhythm, and the grammar - all of which are essential to support the edifice of music.

Thyagaraja Swami –

His Contributions to Raga Lakshana and Musicology

by

Dr. R. Krishnaswami

Thyagaraja Swami had made significant contributions to raga lakshana, raga lakshya, and raga swaroopa, or in general, to the development of musicology. A support for this claim is provided to us by Sri A. Vasudeva Sastry of the Saraswathi Mahal Library, in a book titled "Ragas". The Ragas study examines the manuscripts of Sahaji, who died in 1710, about sixty years before Swami was born. After analyzing the work of Sahaji and all the materials available on raga lakshanas, Sri Vasudeva Sastri concludes that thirty of the 72 melakarta ragas were given a raga swarupa and acquired their ranking solely from Saint Thyagaraja Swami giving them these qualities. Quoting from Madikeswara Samhita, a work on srutis of which only extracts are now available, Sastry points out that 12 swara moorchanas were in existence and Swami used it to give Karaharapriya great charm in his composition, Rama Nee Samana mevaru. Quoting the sangatis of this composition in great detail, Sri Vasudeva Sastry points out that the "closed curve" melodic effect which can be got by the vadi-samvadi usage.

As it is believed, Swami created many new ragas. Many scholars however believe that he activated or unearthed many ragas which has been labeled and were lying dormant because their lakshanas or characteristics were not defined in clear terms. However, the fact that only one composition exists in a certain ragas and these compositions have been composed in these ragas only Sri Thyagaraja Swami lends credence to the claim that ragas like Pratapa Varali, Nabhomani, Jaya Narayani and many others, were Swami's creations.

Similarly, sangatis or usages that enrich the musical context of a kriti, are mostly found in Swami's compositions. Although some scholars point out that sangatis are as old as music itself and were known under the name prayaogas. However, since they became widely used only through the kritis of Swami, it will not be wrong to assume that sangatis were Swami's innovations. He used sangatis to bring out the raga bhava or their fundamental characteristics.

Mrs. Vidya, in an excellent paper presented to the centenary session of the MadrasMusicAcademy (Swami's death centenary), has used a number of examples to illustrate how Swami used sangatis to highlight the use of right srutis. He used these also in kritis intended for children so that they can learn the sruti values early and by understanding the proper imitation of the instrument or voice teaching them. Let me point out one example provided by Mrs. Vidya. In the kriti, Mariadagadura (Sankarabharanam), she points to the numerous sangatis used in the pallavi and shows how the tri-sruti gandhara of Sankarabharanam is deftly handled by Swami. Both Sankarabharana and Kalyani have the same gandharas in their structure but Kalyani use the Chatursruthi and the note clings to the Madhyama. She also points out how the sahitya splits perfectly into the right tisra syllables and how the visesha prayoga, Sa Da, Pa in the sangatis just preceding the complete avaroha brings out the bhava.

Mrs. Vidya also says that by using a deerga daivata, Swami has skillfully managed to bring out the raga bhava of Kambhjoji in Evari Mata, although he uses only the swaras common to Sankarabharanam and Khamboji. The commencement of the charana of this song also brings out the value of Khamboji's deerga daivata prayogam.

Often, when using a new raga, Swami employs the arohana and avarohana in the opening phrase itself. For example in Binna Shadjam, raga derived from the ninth mela, Dhenuka, the opening words Sari Varilona, fit in with Sa Ri Ga Ri Pa Ma Pa Da Sa Da Pa Ma Ri Ga Ri Sa. The opening phrase in Evaraina lera peddalu (Raga: Siddha Sena), the notes are SaGa Ri Ga Ma. Take Bahudari, is there a more appropriate characteristic phrase than Pa Da Ni Pa Ma Ga?

When employing vivadi swaras, Swamiji makes sure that the vivadis occur in the opening phrase itself, e.g. Paramatmudu in Vagadheeswari; Evare Ramayya in Gangeya Bhushani. Even for an ancient and well known raga like Bhairavi, he uses common swaras to great effect. For example, in the short rupaka tala kriti, Upacharama Jese Varu, he opens with Ri MaGa without the slightest trace of Karaharapriya. The chatsruthi rishabha of Karaharapriya is aligned to the Madhyama, a fact so well demonstrated. Karaharapriya and Hari Kambhoji are Swami's gifts to Carnatic music. The Tana Sampradaya Kirtanas and indeed even the simple rhythmic ones teach the ease with which all or most of Swami's songs fall into the sarva laghu ,in addition to demonstrating the scope of the raga alapana, swara singing paddathi and neraval. Koluvayyunnade in Bhairavi and Kori Sevimparare in Karaharapriya are examples.

Other examples of where Swami had used sangatis to bring out the raga bhava 'include: Najeevadhara, Chetulara Srungaramu, Thappi Brathiki Brova Tharama; in these compositions, the sangatis are in the passage containing the message of the kriti. In the Pratapa Varali song, Vinanasa Koniyannanu, the phrase Da Pa Sa is used for Aa Aa in words to emphasize that Swami wants to not only have sweet words, but to also as he says "Madhuramaina Palukulu," the sweet words that Vathathmaju (Anjayaney) and Bharatha heard.

The compositions of Sri Thyagaraja Swami make the largest contribution to our knowledge of Carnatic music today. In volume and variety, no other composer has given us so much material covering so wide a range of ragas, their lakshanas, that allows singing even by those with limited voice range and limited music knowledge. Examples are: Jaya Jaya Sri Raghu Rama, in Mangala Kaisiki which any one can sing (even little children), Naa Jeevadhara, Endhu Daakinado, and Mari Mari Ninne, that demand excellent voice qualities and sangita gnana or musical knowledge.

The Musical Genius

By



Dr. R. Krishnaswami
and
P. Sreenivasan

Sri Thyagaraja Swami's contribution to music or sangitopasana and the esoteric nadopasana is unique. No other composer has sung about the grammar and mystic significance of sanginta in such terms as Swami has. Arranged in the order of their subject matter, the songs on sangeetha and nada make a textbook on the subject by themselves. He has either created or popularized quite a few ragas which he calls "vintha ragamulu" or new ragas.

Professor Sambamoorthy says that no fewer than 78 ragas owe their identify to Thyagaraja kirtanas. One scholar says that before Swami's time there were so few ragas that all the songs could be classified under a small number of lakshana definitions. In this connection he refers to a lakshana and lakshya work by Sahaji Maharaja, some sixty years before Sri Thyagaraja Swami was born. Sahaji Maharaja lists only 31 ragas which represented practically all the known ragas of that time. It may also be mentioned that there were no songs in Harikamboji or Kharaharapriya before Swami's time. It is not an exaggeration to say that these two ragas were Swami's gift to Carnatic music. Swami has handled some 210 ragas derived from 43 melakartas. Also, he did not handle many pratimadyama ragas and this, some scholars claim, is due to the fact that not all Pratimadyama ragas have their individual swaroopa.

Some notable features of Swami's compositions are obvious when he employs a new raga; its arohana and avarohona are indicated in the opening phrase itself e.g. Siddhasena. The kriti in this raga gives the complex arohana and avarohana (derived from the mela Dhenuka, Sa ri ga ri pa ma pa da sa pa ma ri ga ri sa. To cite another example, the opening phrase of the Bahudari kiriti - pa da ni pa ma ga is a marvel for there can be no better opening. Some composers have tried variations without the same melodic effect.

Where two very common and popular ragas are combined in the purvanga or uttaranga, for example in Charukesi or its inverse raga, Kokilapriya, by subtly introducing the note from the poorvanga or uttaranga to give the raga its flavor, the identity of the combination as an artistic form of its own is established. In "Adamodi galada," the Suddha Daivatam is introduced in the opening phrase and in Dasarathe (Kokilapriya), the kaakonisheda is introduced.

Where a vivadi swara is involved, it will always be found in the opening phrase for if this is not done, the identity of the raga cannot be established. for example, if only the swara from ga ma to ni sa are sung in Nasikabhooshani, only Vachaspathi will be heard. Thus, only if the Shatsruthi rishaba is included will Nasikabhooshani be heard.

For sheer musical excellence, composition such as "Enduku Peddala" and "Emi Nerama", both in Sankarabharanam and "Evarimata" and "Mari Mari Ninne" both in Khomboji and his large number of creations in thodi, in which raga there are no fewer than 36 kritis, no two is alike and his ganaraga pancharathnams cannot be excelled. The Kshetra kirtanas, the nalangu songs for the soorthradhari (a sort of compere) to sing, the divyanama kritis for ritualistic worship are all a treasure Swami has left for us.

Swami was the first to introduce the desadi thala and also to introduce sangatis in his connotations. The sangatis were introduced to bring out the melodic and rhythmic intricacies, the raga lakshanas and quite often, to bring out the purpose of the song, e.g. Chetulara in Bhairavi and "Thappi Brathiki Brova" in Todi, where all the sangatis are based on the words "singaramu jesi joothunu" in the first case and "brathiki brova tarama" in the second case. Kritis such as "Dorakuna" "Mari Mari Ninne" "O! Ranga Sayee" "Dharini Telusukonti" and others (numerous to list) are examples of sangatis used to create an intrinsically and exquisitely conceived ornamentation of marvelous musical architecture.

Sangeetha and Nada: Another example of Sri Thyagaraja Swami's genius can be found in his handling of sangeetha and nada. The study of sastras relating to sangeetha are supposedly derived from divine sources and when used for devotional purposes, could lead to the conferment of many blessings. There were clear texts on the origin of our music, its structure and purposes.

The five octaves, madhya, mandaram, anumandara, tara, and anutara were derived from the five forces of Shiva - Satyajata, aghora, eesana, tatpurusha and vamadeva. The structured music is based on the Sruthis, a unique concept and the purpose of music is only one: to praise the Almighty. In other words, it is only devotion for which sangeetha should be employed and not for any other purpose such as mere artistic pleasure. These concepts are derived from the first three slokas of Sangita Ratnakara.

In dealing with sangeetha or physical aspects of music, Sri Thyagaraja Swami has taken the first three slokas and composed the following three songs, almost word for word: 1. Naada Thanumanisam Sankaram (Chittaranjani); 2. Sobhillu Sapthaswara (Jaganmohini); and 3. Nadopasana (Begada). At this point, there is a clear distinction made between sangeetha or the physical and aesthetic aspects from nadopasana or the mystic, esoteric aspects or naada yoga. These are discussed in the article on Nadopasana.

The practice of sangeetha, based on the sastras , is referred to in "Ananda Sagara" (Garudadwani) and "Sangita Sastra Gnanamu" (Muhari). As fruits of the practice of sangeethopasana, mention is made of the "Ocean of Bliss - Sangeetha Sastramagu Brahmananda Sagara" and again, mention is made of other such fruits of nadopasana in the Mukhari kriti as "Prema bhakthi sujana vatsalya" and "Srimad Rama vara katakshamu." In the kriti "Sripapriya sangeethopasana seyave O Manasa", he refers o the ragas which take pleasing forms. The practice of the art of sangeetha will bring to its practitioner Sarropya or attainment of good form; Galokya or being in the same realm as God; Sarropya or being close to the Lord; Aroopya or attaining the form of the ista devata and Sayjuya or merging with the god - the forms of heavenly bliss. The origins of our music is divine, its structure melodic and its purpose - the devout worship of God. Sri Thyagaraja Swami, through his musical genius, brought us all these treasures.

The Poet

by Dr. R. Krishnaswamy and P. Sreenivasan

Thyagaraja Swami's compositions are described as poetry set to music. He was the only poet among our composers. He has considerably enriched Telugu literature of the 19^th century. He has composed verses of every known kind from simple kanda padyams to the more elaborate and complex varieties. Among the verses, both introductory and invocatory, appearing in the two operas or song dramas are Seesa padyams, Utpalamalas, dwipadis, sardhoola vikruditham and kandapadyam. There are over 160 padyams in all between the two Gaya Natakas – Prahlada Bhakthi Vijayam and Nowka Charitham.

It is said that Swami composed a third natakam by name Seetharama Vijayam. This claim is made by Professor Sambamurthy and others based on a license granted to one Wallajapet Loka Narayana Sastrulu for printing a poetry drama, Seetharama Vijayam at Gnanabhanu Achukootam, Choolai, Madras. Professor Sambamurthy and his team of dedicated students did their best to locate this press but without luck. Either the work was never printed or the manuscript was lost. Professor Sambamurthy and other scholars believe that the kritis, "maa Janaki" in Kamboji and "Varnaja Nayana" in Kedaragowla belong to this opera and that these two songs depict sambandi kelikkai.

The greatness of Swami's poetic skill is in that all his verses and songs can be read as prose and do not need to be rendered into prose form or anvaya. The lakshanas (attributes) of pure poetry are all there and so they can be read with meter and prosody with equal felicity. Another noteworthy skill is his mastery over dwitiyakshara prasa or prosody based on the second letter of the opening word in each line. Ha, Ksha, and similar dwitiyaksharas are handled with amazing ease and fluency. "Kaddana Variki" (Thodi), "Gruhabalamemi" (Revagupti) and the only Tisra Triputa kriti, Lalgudi Sthala kriti, "Mahita pravruta Sreemathi" (Kamboji) are good examples.

His description of the Yamuna, with the gopis sporting; of the Kaveri as it flows from the hills and dales; his description of Thiruvayyaru" reflect his poetic skill and imagery, both in Telugu and Tamil. His Satodalankara too is marvelous; in creating an onomatopoeic effect. This skill, one could say, he had acquired by his study of Pothana - "Kala kala mukha kala sokkuche palukulolam ruthamu lolikadu swamiki" in Gandhamu Poyyagara (Punnagavarali) and the charana of the Saranga kriti "Emi deva balkuma" creating a battle scene effect.

Swami has used parayayanams or synonyms very skillfully in narrating the Ramayana. Basing the progress of the story on the Lord's feet, hands, weapons, eyes, etc., the story is told from Viswamitra yoga Samrakshanam to Pattabishekam.

To give an example, the parayayanams "angrulu, kalyu padamulu" and "charanmulu" are used to say "when am I going to see the feet that walked beside Viswamitra; the feet which made Ahalya come back to life; the feet which pressed and broke the Shiva dhanus and the feet which Janaka washed with milk at the wedding. The story then moves from yagasamrakshanam to Sita Swayamvaram (Please also refer to the kriti Vinayamunu in Sowrashtram). Some people use this as daily parayanam of the full Ramayana.

Swami has used words and combination of words of his own creation. This needs some examination to be fully understood. For example, in the divyanama kirtana "Manasa Sancharare" (Punnagavarali), he uses the word "bharye" to mean Chandra. This is derived from

"ba" Nakshartram and "arya" or leader or the great one; meaning "sreshta" indicating here the moon. Hence "mukhajita bharye" for mukhajita soma or Chandra. In the adamantine kriti "RamanSalaam Brova", he uses the expressions, yantha, bantha, nishantha – to mean Ramachandra. This is arrived at by "yantha" or the letter after "ya" that is "ra" in bhantha; the letter after "bha" is "na" and "nisantha" meaning dispeller of darkness (the moon). This explanation was provided by His Holiness the Paramacharya of Kanchi Mutt when his clarification was sought. He explained that Swami was well versed in mantra sastra also where such techniques are employed to guard the secret and sanctity of the mantras.

Thanks Dolly. Still reading will return to add 😛

Originally posted by: Swar_Raj

Thanks Dolly. Still reading will return to add 😛

thanks swar

AD1767-1847

Saint Tyagaraja was one of the most popular composers of Carnatic music. He was one of those savants who gave a new direction to Indian music. He was a profound scholar and poet and also known as Sangeet-Guru. The music compositions, Tyagaraja Gana, Valmikiya Kavana and Agumbeya Astamaya are said to be unique as they hold one in rapture.

Thyagaraja composed devotional verses and set them to music. He popularised music in the form of kirtans. His immortal Pancharatna Kritis or The five gems reveal the mastery of his genius. He was of the opinion that art cannot be weighed in money, nor can it be compensated by it. He composed 700 verses and set them to music in 500 different ragas.

The eighteenth and nineteenth centuries were significant in the annals of Indian Classical music because of Thyagaraja. His special sound effects revolutionised Carnatic music and he distinguished himself in the field of poetry. He also created two operas. They were the Prahlada Bhakti Vijayam and Nauka Charitam. Although a majority of his songs are in Telugu and a number of them are in Sanskrit too.

Spiritually he was one of the rare souls who gave up everything and cared for nothing other than the grace of God. The only things that mattered to him were his music and faith. He was a great devotee of Lord Rama. Thyagaraja passed away on January 6, 1847.

Thyagaraja music festival gets under way

Special Correspondent ( the Hindu)Thursday, Feb 16, 2006

MUSICAL OFFERING: Thyagaraja Divyanama Kritis being rendered by the Kerala Brahmana Sabha Kozhikode unit as part of the inauguration of Thyagaraja Aradhana Music Festival in the city on Wednesday. - Photo: S. Ramesh Kurup Kozhikode: The 26th edition of the Thyagaraja Aradhana Music Festival organised by saint Thygaraja Aradhana Trust in Kozhikode got under way at the Padmasree Kalyana Mandapam on Wednesday. Kalaimamani Kulikkarai S.P. Viswalingam lit the traditional lamp. The festival, which will be on till February 19, is a much awaited event for music enthusiasts. The fete brings together noted Carnatic singers and musicians from within and outside. As many as 500 musicians will perform at the festival this year. Students of Carnatic music will also participate in the festival. The concerts will begin at 8.30 a.m. and go on into the night.

It was in 1981 that Thyagaraja music festival began in Kozhikode under the aegis of the trust.

where is the festival being held

Originally posted by: Swar_Raj

where is the festival being held

I beleive this festival is celebrated all over country but it is Thiruvaiyaru in tamil nadu where it is celebrated every year and people from all over country come to celebrate..

Thiruvaiyaru is the pace where the great saint and musician Thyagaraja lived and attained samadhi. Here an eight-day music festival, the Thyagaraja Aradhana is held every year in January. This Carnatic Music festival attracts music lovers from all corners of the country. Thiruvaiyaru is situated 13kms from Thanjavur.