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SRUTI, The India Music & Dance Society

Board of Directors
BOARD OF DIRECTORS
President

C. Nataraj

610-687-4565

President-elect

S. Vidyasankar

215-310-1783

Treasurer

Venkat Kilambi

610-631-2291

Secretary

Sridhar Santhanam

610-672-4565

Tyagaraja Aradhana

Director - Resources & Development

Ramaa Nathan

610-668-3691

2008

Director - Publications & Outreach

Vijaya Viswanathan

610-640-5375

Director of Marketing &

Publicity
Srinivas Pothukuchi

215-364-2089

Director 1

Revathi Sivakumar

215-661-8521

Director 2

Seetha Ayyalasomayajula 609-716-7620

Publications & Outreach Committee:

Raman Visweswaran

610-647-7822

Rungun Nathan

610-668-3691

SRUTI
The India Music & Dance Society
Philadelphia, PA

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Editors Note

Solution to Crossword

Welcome to Srutis 2008 Tyagaraja Aradhana festival. It is a wonderful time to remember this great saint who
has touched so many people through his music, his bhakti,
and through the story of his life.
Sruti has an exciting day planned for you to remember Tyagaraja on this special day with offerings of Tyagaraja Kritis by the community and a concert in the evening.
This issue of Sruti Ranjani carries articles by children, and
adults and includes crosswords and brain teasers for your
enjoyment. Again, many thanks to all for taking the time to
write for this issue.
We would also like to take this opportunity to request articles and reviews from you for upcoming issues of
Sruti Notes and Sruti Ranjani.
Thanks,

S U C H A R I

T R A

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A N D O L

K A
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C H A M A R A M

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S R

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Raman Visweswaran
Rungun Nathan
Vijaya Viswanathan

610-647-7822
610-668-3691
610-640-5375

P A N C H A M A M
P

14

A
N

15

R U V A
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Y A R U

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K A M A L A M A N O H A

CONTENTS

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Program Acknowledgements
About the Artists
Articles by members of the community
Puzzles

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N A T T A
Created with EclipseCrossword www.eclipsecrossword.com

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PROGRAM
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08:00 AM

Puja

08:15 AM

Utsava Kriti rendition by group

09:00 AM

Pancharatna Kriti rendition by group

10:30 AM

Individual Singing

05:00 PM

Concert of the day

Vocal Concert by Abhishek Raghuram and
Party

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Created with EclipseCrossword www.eclipsecrossword.com

By Dinakar Subramanian

ACKNOWLEDGMENTS
1. The Delaware Temple, for providing the venue for the
Aradhana, P Sarma and Bal Reddy of the Delaware
temple board for their help with logistics.
2. Sri K.S. Narayana Bhattar, for priestly services during
morning Puja.
3. Members of the Utsava Sampradaya Kriti group,
Members of the Pancharatnam Kriti group, Srivalli Pillutla for organizing the bulk of the Pancharatnam rehearsal sessions, the children in the group for their
dedication and effort.
4. The individual participants Our thanks for signing up
in large numbers and making this day a success.
5. The artistes of the evening concert Abhishek
Raghuram and Party.
6. Smt. Deepa Viswanathan, for painting the oil on canvas
portrait of Tyagaraja and donating it to Sruti.
7. Smt. Sharmila Rao, for assisting with the stage decorations.

ABOUT THE ARTISTES OF THE EVENING

Abhhishek Raghuram is the grandson of Padmashri Palghat Raghu.
Before taking up vocal music, Abhishek had his initial training in mridangam from his grandfather. Abhishek has been undergoing training
in vocal music under Shri P.S. Narayanaswamy since 1994. He is also
a proficient kanjira artiste. He has accompanied various artistes and
has played with mridangam maestros Palghat Raghu, Dr.T.K.Murthy,
and Umayalpuram Sivaraman. He has won several prizes in competitions conducted by the Music Academy, Narada Gana Sabha, Mylapore Fine Arts, Thyaga Brahma Gana Sabha etc. At the age of 7,
Raghuram was awarded the gold medal for mridangam in the
Mazhalai Medhai Contest. He also won the first prize in the pallavi
singing competition organized by S.Balachander Trust Madras in the
year 1996.
Mysore V. Srikanth is a senior disciple of Vidwan Sri H.K. Narasimha
Murthy of Mysore. He started learning the violin at a very young age
and has undergone rigorous training for more than eighteen years.
Srikanth has been giving performances from the age of 15. He has
gained rich experience by accompanying top artists like R. K. Srikantan, Dr. M. Balamurali Krishna, T. N. Seshagopalan and others. Srikanth, a graded artist of AIR & Doordarshan, performs regularly for All
India Radio, Doordarshan, and other T.V Channels. He has been conferred with the title Kala Praveena in Feb 2002 at Bangalore . In
2004, he was honored with the prestigious award for talented young
musicians - Ananya Yuva Puraskara by the organization 'Ananya of
Bangalore .
B. Ganapathy Raman began his training in mridangam under Laya
Vadhya Kovida" Kumbakonam Sri. Rajappa Iyer, and continued his
tutelage under Srirangarajapuram Sri Jayaraman, Nagai Sri Soundararajan and later on came under the tutelage of Srimushnam Sri. Raja
Rao. He has won many awards including the Yuva Kala Bharathi
Award from Bharat Kalachar, Nadha Oli Title from Raga Sudha
Sabha, Best Mridangam Artist Award from Sabhas like Music Academy
(1999, Indian Fine Arts(1998), Sri Krishna Gana Sabha (1982). He has
accompanied various stalwarts including Dr. M. Balamuralikrishna, Lalgudi Sri G. Jayaraman, Sri. D.K. Jayaraman, Palaghat Sri K.V. Narayanaswamy, Sri. T.K. Govinda Rao, and Sri. T.V. Sankara Narayanan, to name a few.
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Divine Composition by Swami Tyagaraja
By Arvind Kumar, 15, student of Smt. Kalyani Ramani NJ

Solution on next page

Tyagarajas infinite compositions have been a communication

between the Lord and his devotee. In his songs, Tyagaraja would
adore Rama, share his personal hardships, and even complain or criticize Rama, in a playful way. The composition, Rama Nannu Brovara
best describes the close relation between Tyagaraja and Rama. Tyagaraja endeavors to grab the attention of the Lord, and secure his love
for Him. This is similar to a child persuading his parents for a desirable
item. In this case, Tyagaraja is invoking the protection of Rama, and
tries to persuade Him by adoring His authority and magnificence.
Rama nannu brovara vemako lokabhi
Cimalo brahmalo shiva keshavadulalo prema mIra melugu cunde birudu vahincina sita
Meppulakai kannatavu-nappu badaga virravigi tappu panulu leka unde
tyagaraja vinuta sita
Tyagaraja converses with Rama :
O lord Rama, protector of the world! Wont you come and protect me?
You are regarded as the whole Cosmos, ranging from a tiny ant to the
trinity: Brahma, Vishnu, and Shiva. You are the charmer of mankind
who awes and attracts all.
O lord Rama, protector of the world! Wont you come and protect
me? Have I ever desired wealth- from a mere quarter to conducting a
lethargic, material life, filled with conceit and overindulgence? Have I
ever been arrogant, committed sins, or had been involved in corrupted
practices O Rama- worshipped by this Tyagaraja?
O lord Rama, protector of the world! Wont you come and protect me?
Inevitably, the line Cimalo brahmalo shiva keshavadulalo appeals to
me the most. One can easily visualize the Lords radiance of divine
love enveloping and protecting His humble devotee who kneels besides
Him praying for protection. Tyagaraja metaphorically compares Rama
existence ranging from a petite ant to the ultimate Trinity: Brahma,
Vishnu, and Shiva. Thus, Tyagaraja exhibits the infinite glory, stating
that there is not a place where Rama does not exist.
Just by hearing and interpreting the meaning of this divine
script, one can feel the immense love flowing between Tyagaraja and
Rama. Tyagaraja bribes Rama, praising His omnipresence, omnipotence, and omniscience. The Saint pleads to the Lord that although he,
Tyagaraja is free from sins, ego and desire for wealth, Rama does not
come forward to protect him. What wrong has he done to displease
Rama, he asks in anguish. By seeing both the Sages musical genius,
and devotion, it is possible to see how Tyagaraja melts the Lords heart drawing His attention. Ten days before Tyagaraja died, Rama gave him a
vision, as if he was in Lanka, ready to fight Ravana. In this revelation,
Rama told Tyagaraja that he will merge with Him, ultimately attaining

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Moksham. Tyagaraja composed a song of this vision. One day before
his death, Tyagaraja took sanyasa and detached himself from the
world. The next day, January 6th, 1847 Tyagaraja had given up his
body, merging with the Lord, forever!
Two Well Known Disciples of Tyagaraja
By: Hari Santhanam, 9, of Srutilayam Music School
Saint Tyagaraja had 30 direct disciples. Each of them did a lot
to preserve his music and also propagate it. Here I will present the work
of two of his disciples; Veena Kuppayyar and Walajapet Venkataramana Bhagavatar.
Veena Kuppayyar was born in the state of Tamil Nadu, in the
town of Tiruvottiyur. His father, Sambamoorti Sastri played the violin
and the veena. He learned how to play from his father. Later he became a student of Tyagaraja and learned how to compose songs. He
knew how to speak Telugu and Sanskrit perfectly. He played violin well
but, people started calling him Veena Kuppayyar because he played
the veena very well.
Later Veena Kuppayar moved to Muthialpet in Madras. Kovur
Sundara Mudaliar was his supporter and Veena Kuppayar enjoyed being his musician. Tyagaraja visited Veena Kuppayar in Muthialpet, Madras. Kuppayar taught lots of students helping spread Tyagarajas
krithis and music. Veena Kuppayar composed his songs in Telugu. One
varanam that is famous is saami ninne kori. Veena Kuppayars songs
are identified by his mudra, Gopaaladaasa.
Some of Veena Kuppayars other compositions are: Inta Paralekha
( Begada - Rupaka), Vinayaka Ninnuvina( Hamsadvani), Inta Chalamu
( Begada), Inta Chouka(Bilahar), Nenarunchi(Danyasi), Koniyadina
(Kambhoji).
Walajapet Venkataramana Bhagavatar was an important student of Tyagaraja. Venkataramana Bhagavatar was a disciple from Ayyampettai a town near Tiruvaiyaru and did secretary work for him. He
was associated with Tyagaraja for over 25 years. He knew Sanskrit and
Telugu. His son Krishnaswamy Bhagavatar learned from Tyagaraja too.
Father and son wrote down the information and the events of Tyagarajas life for 35 years. They wrote about Tyagarajas visits to famous
temples.
Father and son preserved most of Tyagarajas krithis for the
future. Thanks to them we know that Tyagaraja wrote three operasPrahlada bhakti vijayam, Nauka charitram, and Sitarama vijayam. The
musical world is very lucky that the father and son preserved Tyagarajas compositions. They taught students and spread Thygarajas
krithis and songs. Some of Venkataramana Bhagavatars compositions
are:
Sri Guru ashtakam - in Sanskrit (Dhyana slokams)

Tyagaraja and Muthuswami Dikishitar are like Ganga and

Jamuna, two of our most celebrated rivers that rise not too far from
each other in the foothills of Himalayas but travel in parallel paths for
nearly nine hundred miles before meeting in Prayag and continuing
their journey to the sea. Legend has it that a third river Saraswati also
joins the other two, running underground as guptagamini. Shyama
Shastri, the eldest of the trimurtis is said to have composed only 108
kritis (some put it at 300) of which only a dozen or so are in currency
but they are of such exquisite quality that he is accorded an honored
place along with the other two composers. With the confluence of these
three, what a swell we have of life sustaining music!

WORD SCRAMBLEBy Dinakar Subramanian

26
concert by no less an authority than Venkatamakhi, because of its Persian origin! I am not suggesting that everyone should like Hindusthani
music. I am only suggesting that we be aware of how things evolve.
What is taboo today may become classical in a later age.
It was this same eclectic attitude that made Dikshitar experiment with western music and compose early in his life what is referred
to as Nottusvara Sahitya. Dr. Durga states that at the request of a
European collector Dikshitar composed forty songs with Sanskrit text
set to the tunes of famous western songs, one of them being Santatam
Pahimam, set to the tune of God save the King. It was again such
openness of mind and musical acumen that led him to recognize the
vast potentiality of the western violin as a suitable instrument for Karnatak music and encouraged his disciple Balu to learn it. Considering that
the violin has never gained the prominence in Hindusthani music that it
has in Karnatak music, one might argue that it must be the result of Dikshitars early endorsement in its behalf.
One of the artistic innovations of Tyagaraja that has become a
standard feature of Karnatak music is the concept of sangatis. This provides an opportunity for the performer to embellish the kriti at suitable
points. Tyagaraja kritis offer great flexibility for expanding on the kriti
through sangatis, neraval and kalapana svaras and this is one of the
main reasons for their enormous popularity with the performers. However, this very same flexibility could work against the composer, if not
handled judiciously. Typically in todays Karnatak music concerts the
alapana is becoming ever shorter, with the performer investing all the
time and energy on the kriti. Unless the various aspects of kriti rendering are properly balanced, there is a possibility in this practice that the
performer gains the center stage and the composer recedes to the
background. Unfortunately, this seems to happen to Tyagaraja quite
often, which makes me ask: are we being fair to him? Arent we treating
Tyagaraja rather loosely, on our own terms rather than on his? This is
less likely to happen in the case of a Dikshitar kriti. Because of its more
compact structure, its identity is better preserved. In this respect, his
kritis are more like the works of composers of Western music.
Present day Karnatak musicians, accustomed as they are to
fast paced singing, find it exacting to render Dikshitar kritis in slow
tempo as originally intended. Neither do the audiences seem to have
the patience for it. As for the composers, most of them tend to pattern
the kriti as a whole after Tyagaraja but unfortunately the text tends to be
most commonplace, devoid of any personal statement or poetic flights
of imagination. They want to play it safe by stringing together names of
the deity, clichs and catch-all phrases denoting bhakti. I wonder
sometimes would any new composer dare start a kriti with words like
enta muddo, enta sogaso! as Tyagaraja did in that lovely Bindumalini
kriti or ask Rama to give him a kiss as he did in Rara Sitaramanimanohara (Oka muddeera, dhira!).

Sri Guru Mangalashtakam - in Telugu

Adi Guru Ashtotra Panchangam - in Telugu
Sri Kakarlanvaya Ratnashara - a text in Manipravalam ( in Sanskrit,
Telugu and Sourashtram)
Gurucharanam bhajare - Sankarabharanam-Adi (a krithi)
Tyagaraja had great trust in Venkataramana Bhagavatar. Tyagaraja
knew ahead of time when his last day on earth would be, so he left behind his puja idols for Venkataramana Bhagavatar. Unfortunately
Pushya bahula panchami was the last day Tyagaraja breathed. Tyagarajas personal items have been preserved even to this day. Pushya
bahula panchami is in January and is an important day for Tyagaraja
Aradhanas all over the world.
Tyagaraja Aradhana Around the World:
By: Ashraya Ananthanarayana,7, of Srutilayam Music School
The `Thygaraja aradhana' is celebrated every year on Pushya
Bagula Panchami day in Thiruvaiyaru where Shri. Tyagaraja attained
his Samadhi. The Festival today is not noly celebrated in Thiruvaiyaru,
India but all over the world in different ways. In India several artists perform the Pancha Ratna and Utsav kritis at the Samadhi of the legend
on the banks of river cauvery in Thiruvaiyaru.
After India, comes the most popular destination, Singapore,
where every year the Tyagaraja Aradhana is celebrated in a big way.
Apart from SIFAS( Singapore Indian Fine Arts Society) celebrating its
Aradhana at the Esplanade Hall every year, this year (2008) the
SYAMA Academy has also undertaken the task of conducting the Aradhana at the Sri. Krishnan Temple of Singapore in a grand manner in the
months of Jan and Feb.
In America the popular one would be the Cleveland, Ohio Tyagaraja Aradhana Music festival. In USA it is celebrated sometime in
March so it can also be said that the flowers of spring bring along with
it the fragrance of Shri.Tyagaraja. . The inauguration of the festival is
done with the rendering of Utsav kritis followed by the Pancha Ratna
Kritis. Over 45 concerts are held during the festival along with various
senior artists giving lecture demonstrations , workshops and Bharatnatyam performances to the budding and inspired talents.
The Sydney, Australia Music circle run by a group of voluneteers is known for hosting the festival sametime like the American celebration, always in March. I guess Easter weekend proves to be an important weekend for Indians too in Australia with the joyous celebrations
of the festival. The year 2005 is unforgettable for me due to the very
unique theme - 'Rare compositions of Tyagaraja and compositions in
rare Ragas'. Though difficult, I believe the teachers and students of
Australia stood up to the challenge and performed several rare ragas
like malavasri, sindhunamakriya, pratapavarali etc. A very well known

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festival and almost every Indian family attends it proves it that Shri. Tyagaraja lives forever in our minds.
The Shri Balaji temple of England, UK is yet another popular
place where the Aradhana is celebrated in a very joyful manner during
the first week of March. Apart from the rendering of the kritis by the
group they also like the other places encourage student talent display in
the field of Carnatic Music. There is always a popular Carnatic group
called from India for giving concerts during this celebration.
Likewise The Aradhana is celebrated with great joy by carnatic music
organizations all around the world like Canada, UAE, Dubai or I should
say everywhere where you could find Indians.
I am very proud to be an Indian carrying the legacy of our rich
culture, talent and tradition generation after generation. Shri.Tyagaraja
truly a gift from the heaven above.

Dikshitar was an inveterate traveler, far more so than Tyagaraja, going on pilgrimages, visiting temples, and composing kritis in
praise of local deities. I wonder if this practice, in addition to giving him
knowledge of sculpture and mythology and iconography, even artistically influenced the architecture of his kritis.
The fact that Dikshitar most effectively integrated some elements of Hindusthani music into the Karnatak system should demonstrate his open artistic temperament and receptivity to new ideas, while
being a traditionalist to the core. Clearly the independent spirit of a
great artist is at work here. He has composed kritis in some 22 desiya
ragas some of which were still evolving in his time. I feel amused when
I see some self-styled purists disapprovingly shake their heads when
they notice some infusion of Hindusthani shades in a Karnatak music
concert. But then they must hold Dikshitar guilty of the same offense!
They probably forget that Kalyani which is considered a major raga in
Karnatak music now was once condemned as unfit for presentation in a

The Gold GEM

By: Aarthy Ananthanarayanan, Artistic Director, Srutilayam Music School
Shri. Tyagaraja the Father of Carnatic Music was born to
Raamabrahmam and Seetamma on May 4rth 1767 in the Telegu Vaidika
family in Thiruvarur. As his name itself suggests Thyaga-Raja means
the 'Prince of Renunciation' a person who gives up all worldly desires.
Shri.Tyagarajas renunciation could be seen in the form of his deep devotion to Lord Ramaa.
Shri. Tyagaraja began his musical career when we 15 years old
under Sonti VenkaTaraamanayya. It is also told that apart from learning
under his Guru he learnt and mastered several songs from his mother
Seetamma. When he sang his 'Seetamma mayamma - Sri Ramuduma
tandri' , one could definitely appreciate his deep love and respect for his
mother and his Lord Ramaa. The Kriti was set to Vasantaa Ragam in
Roopaka Talam. The Pallavi of the song sItamma mAyamma shrI rAmuDu mA taNDri really brings out the tears of Love: The meaning being: O Mind (manasa)! Seetha Devi is my mother (amma). Sri Rama is
my father (tandri).
He was totally against "Narastuti praise of men for profit or
benefit. The foundation pillar of the Hindu system proclaims that Knowledge should not be weighed against any sort of wealth, profit or benefits.
He believed in the GURUKUL system. History shows a few incidents
whereby the disciples came to grief with Shri. Tyagaraja for insisting on
payment of GURU DHAKSHINA. For his rich, immortal, priceless knowledge and talent he would have been flooded with gifts, honors and
wealth but he did not choose to have any of the above but only one gift
that he happily embraced which was brought by his one disciple, Wallajah Venkataramana, a picture of Rama.
Based on his value system and principles he used to go singing
from street to street and begging for rice. Once when he was doing so a

24

structure, open and clustered places, areas of light and shade, and
carefully places various components to produce a unified, balanced and
harmonious whole, Dikshitar builds an extraordinary structure in the
space of the raga, making the abstraction of raga into a reality, as it
were. The concept and development of raga, and its fullest expositions
are the hallmark of his compositions. And each kriti is complete, like a
well designed and executed piece of architecture, the result of the work
of master craftsman, not of a passing emotion. Dikshitar is a master at
being impersonal, even a bit distant and awe-inspiring may be, and yet
can take you on one of the most satisfying journeys of your life through
the wonderful world of raga. I remember the feeling I had when I first
heard his Nayaki kriti, Ranganayakam; its effect lingered in me for days.
An image that often comes to my mind when I hear Dikshitars
kritis is that of a magnificent temple. As you get through the main entrance, you see a vast courtyard. The slow tempo of his kritis suggests
the vastness of space and an unhurried exploration of it. Dikshitar
guides you through that space, showing you various features of the
temple, the magnificent courtyard, the superbly sculptured pillars, the
friezes depicting episodes from the mythology of the main deity, the
images of other deities and finally into the garbhagudi, the sanctum
sanctorum. Dikshitar would want you to spend a lot of time in the temple, taking in each aspect of the edifice, enjoying the beauty of the
sculptures and understanding the mythology and iconography, and finally going through the spiritual experience of worship. He wouldnt
want you to rush through it all. He would want you to take it as a pilgrimage in itself.
I have often wondered what factors might have shaped his temperament (manodharma) that led to certain choices that characterize
his kritis. The slower tempo of the kriti and a gradual development of
the raga are clearly the influence of the dhrupad style of Hindusthani
music to which he must have been exposed when he was in Benares
completing his tutelage under Chidambaranatha Yogi. Even granting
that slower tempo and elaborate exposition of raga were not uncommon
in Karnatak music of those days (can you believe it!), the influence of
Hindusthani music can be easily seen otherwise. Recall the kritis in
Dwijavanti, Brindavana Saranga, etc. If you compare the kritis Kamalaptakula of Tyagaraja and Rangapuravihara or Soundararajam of
Dikshitar, you will see vastly different treatments of the same raga. Tyagarajas treatment seems rather limited while that of Dikshitar reaches
out to the frontiers.
Another factor that might have influenced his choice of the
slower tempo could be that he was a vainika. A slow tempo is ideally
suited for exposition on veena. Although Tyagaraja was also known to
be a veena player, he was essentially a vocalist. He is said to have possessed a wonderful voice that ranged over three octaves. His kritis also
seem to have been fashioned for faster, higher-pitched vocal rendering.

Sage named Haridas came up to him and requested him to recite the
name of Lord Ramaa 960 million times. Shri. Tyagaraja felt honored
and happy for having got an opportunity to chant the name of his Almighty Lord Ramaa several times and did so with a pleasing smile.
After performing he went to offer his prayers to Lord Ramaa when he
suddenly heard a knock at the door. When he opened the door he saw
Lord Ramaa, Sita and Hanumaan entering his prayer room. Tears of
Joy and respect clouded his eyes and he was so moved with devotion
that he sang the "Baalakanagamaya"
In another incident when he went to the Thirupathi temple for
the Dharshan of the lord the shrine was closed. In sadness, he sang
"Teratiyagaraadaa". Everybody around him in the temple were astonished when they saw the temple door opening by itself and the lord giving a bright Dharshan for Saint Tyagarajar. In his happiness of seeing
the lord he sang the "VenkaTEsha ninu sEvimpa
To get to listen to a song by the composer himself would be a
great privilege. It is said that he used to constantly develop new ragaas
and kritis. Though he composed 24,000 pieces, only around 1,800 kritis
of Shri. Tyagaraja, are known to us today. It is said that he availed of
250 ragas and he was known for having used more than 60 ragas in his
kirtanas. History has also got the opportunity to witness his Musical
plays Prahalada Bhakthi Vijaya' and 'Nauka Charitra'.
Tyaagaraaja's compositions also included the Ghana Raaga
Pancaratnam (5 gems) in raagams naattai, gowLa, aarabi, shreeraagam, and varaaLi. He had a very soft heart towards his disciples and
always loved to fulfill their wishes. When he visited TiruvOTTiyoor at the
request of his disciple Veenai Kuppayyar, he sang the TiruvOTTiyoor
Pancaratnam. At the invitation of his disciple LaalguDi Raamayya, he
composed the LaalguDi Pancaratnam. He also composed the Shreeranga Pancaratnam in praise of Ranganaata of Shreerangam and 5 kritis in praise of Sage Naarada. All his kritis are a delight to the ear and
are extremely rich in quality, variety, taalams, bhavams, spiritual values
and emotions.
As Suddhananda Bharathi said, 'Tyagaraja is the temple of
Ram Nam - Ram Kokilam - who warbles the glory of Rama from honeydropping arbor of music. He is a Mira in motion, a Kabir in devotion, a
Purandara Dasa in music and a Nammalwar in vision."
Tyagaraja Day
By Sumitra Jagadesan-Age:9, student of Smt. Vidya Sridhar
I started carnatic music when I was about five years old. My
interest in carnatic music is that I love to sing, and I wish I could be a
famous carnatic singer and composer like Tyagaraja. I love carnatic
music because its fun to sing and I can learn about Indian classical music. Ive been singing carnatic music for three years, and I sang in the

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Tyagaraja aradhana twice. Tyagaraja was born on May 4,1767 and he

died on Jan 6,1847. So I sang in the Tyagaraja aradhana to celebrate
his great life. I sang four of Tyagarajas songs they were Giriraja, Buntorithi Golo, and Kalaharana. Tyagaraja is a very famous singer, and we
should all help keep him famous and we should keep singing all his
wonderful songs. The fact that Tyagaraja composed his first song at
age eight got me interested. I also found out that most of Tyagarajas
song has his name at the end of his it. Im grateful that though Im all
the way here I can still learn Tyagarajas songs. All of Tyagarajas
songs are very nice and I wish I could learn all of his songs one day.

everyday form. This again gives his compositions tremendous sustaining power. We have seen this phenomenon in the case of a few other
composers as well, such as Purandara Dasa, another great communicator, who composed in Kannada, the language of the people.
Dikshitar conceives music not so much as a means of communication but as a means of adoration and worship of the godhead. Of
course, there is communication in all great art and Dikshitars music is
no exception. But the dominant goal is worship. Further, the worship is
conceived in an established traditional manner. The emphasis is entirely on the subject of the kriti. There is rarely a reference to any personal feelings of ecstasy or anguish as one finds so commonly in Tyagaraja. True, Tyagaraja has composed utsava sampradaya kritis that
are actually sung as part of worship. But these also reflect various aspects of a devotees personal relationship with the Supreme One. In
Dikshitars kritis this personal element is sublimated into an impersonal
relationship. One sees in Dikshitar, a highly disciplined mind, attuned to
performing a long ritualistic worship or upasana. The mood is serene
and contemplative.
Unlike Tyagaraja, Dikshitar composed in Sanskrit, the language
of the sacred texts, the medium used by the intellectuals and keepers of
esoteric knowledge. The texts of the kritis are composed in adoration of
the deities and consist of their names and words and phrases describing their various attributes, stringed together somewhat like the texts of
the famous strotras (prayers). He had an encyclopedic knowledge of
various fields and drew his material from Vedanta, puranas and tantric
sources, and jyotisha (astrology). He was a man of ideas and is perhaps the only one to bring in ideas from so many different fields. He
refers to concepts and practices and terms established by traditional
forms of worship. (You may recall even in the very familiar vatapi ganapatim bhaje, there are phrases like trikonamadhyagatam that are abstruse to lay people.) He employs all the six angas or component sections of strotra literature, namely, namaha (salutation), asi (blessing),
siddhanta (active affirmation), parakrama (mighty deeds of the deity)
and dhyana (meditation) (see S.A.K. Durga, Muthuswami Dikshitar,
Sruti Ranjani, Sruti, Ed. Viji Swaminathan, 2003, pp.123-131). He naturally felt Sanskrit was the most suitable vehicle for his purpose.
If Dikshitars kritis were just strotras, even granting they were
beautiful, they would not have excited the attention of music lovers for
generations as they have and perhaps we wouldnt be talking about
them nearly two centuries later from a different continent. They would
have been regarded as no more than mantras or strotras used in everyday worship and left at that. But the amazing thing is the genius of Dikshitar has transformed them into some of the most magnificent kritis of
Karnatak music.
Dikshitars vision, it seems to me, was that of an architect.
Even as a great architect visualizes the arrangement of space and

Tyagaraja
Sashank Sridhar, 6, student of Smt.Vidhya Sridhar
I started learning Adi Talam from my Grandma. I started learning Carnatic Music from my Mom. One thing my Mom taught me is to
sing out of your belly. My mom also taught me about the great composer Tyagaraja. She taught me three kritis of Tyagaraja. My favorite
one is Bantu reethi koluin ragam hamasanadham. One thing I learnt
about Tyagaraja is that his favorite God was Rama. Tyagaraja is my
favorite composer. I hope I learn more about him and his songs.
TYAGARAJA
By Suhana Jagadesan, 9, student of Smt.Vidhya Sridhar
One of the greatest and most dedicated composers of India
is Tyagaraja. He was a dedicated devotee to Rama and spent his time
composing songs of Rama and praising the holy god himself. Many of
us celebrate a special day where we sing and praise this outstanding
composer. This day is known as Thyagadraja Aradna. The songs that
he composed warmed peoples heart with joy. As a devoted singers of
Rama, most of his songs were dedicated to him. His main purpose was
to become one with Rama, to be with Rama, and to please Rama with
his heartfelt songs. Although his life ended on January 6, 1847, his
spirit lives on. Tyagaraja must be kept alive by all of us, the newer generation. By working together we can cherish every minute, every moment, and every song that he has composed for our enjoyment. This
journey has taken me far, because now I realize that Tyagaraja has
done more than singing or composing, he has created a pathway of
music for us all.
Tyagaraja Day
By Pranav Kunapuli, student of Smt. Kiranavali VidyaShankar
Tyagaraja day is the day where we celebrate the birth of one of
carnatic musics greatest composers. To me, it means a day of appreciation of the gift that Tyagaraja has given us - the gift of music. On this

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they gave expression to it they were different. Here we have the mystical Tyagaraja, sensitive and lyrical, who through his songs conveys the
cry of supplication of millions of his fellow beings. And there is Muthuswami Dikshitar, sophisticated and erudite, intellectual and somewhat impersonal, but amazingly rich in raga conception and development, and whose majestic kritis fill you with a different kind of musical
experience. That these two musicians were contemporaries, and lived
not too far from each other and yet were so vastly different in their
styles is a tribute to their creative genius and independence of spirit. At
the same time, the fact that the discerning listening public of Karnatak
music long ago recognized their genius and accorded both of them the
highest place of honor is a tribute to their own musical sensibility. Too
often, however, we tend to think of the trimurtis one-dimensionally. Dikshitar forces us to think otherwise. I would like to share some of my
thoughts on the matter with my fellow Sruti members. I must preface it
by saying I offer them only as tentative remarks, in the spirit of opening
an arm chair discussion (which is the best I can do after all, considering
my limited knowledge!), rather than as conclusions from a serious study
of the subject. It is rather like a sketch for a portrait than the portrait itself.
Tyagaraja has become an iconic figure in Karnatak music. His
name is almost synonymous with the system itself. He lived the longest
of the three and is the most prolific of all our composers. He also was a
great teacher who trained and nurtured a dedicated band of disciples
who preserved and propagated his legacy. He is the touchstone of
quality by which we measure other composers, except perhaps the
other two of the trimurtis, Shyama Shastri and Muthuswami Dikshitar.
But even there comparisons are constantly being made, although not
so much to establish the superiority of any one over the others but to
gain greater insights into their extraordinary musical genius.
Music was a means of communication to Tyagaraja. He constantly communicated with his own inner self and Rama, his ishtadevatha, and that communication found outward expression and
reached his fellow beings in the form of a song. You might recall how
frequently Tyagaraja uses the word manasaa in his compositions. He
speaks to himself, communicating his thoughts from one part of his consciousness to another part as it were, all the time keeping the image of
Rama in his mind. It is as though he has Rama as a witness to every
thought that goes through his own mind. Rama is his dearest god, his
master, his closest friend and confidant. There is nothing he wouldnt
tell him. He may burst out in ecstasy or cry out in anguish, he may sing
his praise or speak of his own frustration. It is these aspects that have
given Tyagaraja kritis a lyrical quality and an immediate emotional appeal and create in the listeners a feeling of personal closeness, a feeling that Tyagaraja is articulating our own feelings. And the language he
used for communication was Telugu, his mother tongue, in a simple

day, Tyagarajas kritis are meant to be sung as expression of gratitude,

beauty, and glory. My personal favorite is titled Ksheera Saagara in raagam aananda bhairavi. I enjoy this song because of its beauty, not only
is the swaras, but also in the meaning. This means as much to me as it
did to Tyagaraja, for Tyagaraja was strong devotee of Sri Venkateswara
or Lord Vishnu. This is what Tyagaraja Day means to me.
Tyagaraja Day
By Veena Kanumalla, 13, student of Smt. Kiranavali VidyaShankar
Tyagaraja Aradhana is really important because it's a day
where people come together to listen to and enjoy his kritis. Recently, I
have learned quite a few new kritis composed by Tyagaraja, but if I had
to pick my favorite, it would be Idisamayamura in the ragam Chayanata.
One of the highlights of the ragam is that it has a jump in the arohanam
from P to S. And throughout the song, there are many such jumps. If
one has the ability to make this jump with precision, it would add to the
beauty of the ragam and the composition. This is one of the amazing
aspects of Tyagaraja's compositional style - to introduce little bits of
challenges and excitement into his kritis. I learned the Pancharatna kritis from my guru, Kiranavali Vidyasankar more than a year ago. Now
that I'm slowly understanding each kriti better, I can appreciate the
greatness of Tyagaraja even more. It is an ongoing journey.
Why I like Tyagaraja Aradhana
By: Priyanka Dinakar, a student of Smt. Kiranavali Vidyashankar.
I have been singing at Tyagaraja Aradhana for the past two
years and I am looking forward to doing it this year. Before I started to
participate I just came to play with friends, but when I started to participate I realized the importance of Tyagaraja Aradhana. Tyagaraja is
one of the composers in the Trinity of Carnatic music. The Aradhana is
an occasion to pay respect to the great saint.
The first time I was going to sing, I was nervous because I was
singing in front of so many people, but when I got up on stage I realized
there was nothing to be scared of. The second time I sang I was not as
scared because I had sung the year before.
I have always enjoyed watching people sing, especially the
people I know. When I see them and like what they sing, I try to see
myself singing as well as them. In my first year, I sang Ramuni
Maravakave in Kedaragowla and also watched other students of my
father sing. My father also taught me at that time.
The second time I sang Varaleela Ganalola in Shankarabaranam. It was reassuring to have my teacher Kiranavali Aunty sitting
in the first row. Now I enjoy sitting in concerts with the other students
that learn from Kiranavali Aunty.

12
I like to watch the Pancharatna Kritis because I like the raagams they are composed in. I also like watching it because I will be
able to learn from the songs. I will be able to learn from the songs that
other people sing as well. I have been identifying raagams for sometime now, and the more songs I listen to the more I learn. I try to identify raagams at concerts, but if I cannot identify them, I try to find the
raagam they are closest to. I am looking forward to doing the same for
this Tyagaraja Aradhana and for many more to come.
Tyagaraja Kritis
By Smt. Latha Suresh, Director, Sangeethalaya School of Music).
Tyagaraja krithis have added value two ways from the perspective of a
teacher. As a learning tool the student is benefited from the krithis of
simpler structure progressing towards the more complex and colorful
ones. As a teacher, imparting the full impact of the krithis repetitively
has made me delve deeper into the annals of the saints life; the circumstances he faced, the bhakthi rasa that emanated from him and so
on. And so, one ponders: Tyagaraja krithis do add value to our lives but
do we add enough value to others lives by propagating them?
Neha, a lover of Tyagaraja Kritis
By Neha Nataraj, student of Smt. Kiranavali Vidyashankar.
Tyagaraja Aaradhana is important to me because songs are a
part of me. Sri Tyagarajas expressive, complex songs move me
greatly, and it feels good to see so many people-particularly childrenputting effort into singing his beautiful compositions. I have two favorite
songs of his. My first is Sara sara samaraikashoora. I love this song
because it is quick and playful. I have heard this song played by Chitibaabu on the veena. I am fond of this version because the characteristics of the lively veena correspond to this spirited song.
My second favorite song is Bhuvini Daasudane. I find Sri
Ranjini a very captivating and enchanting raga. The notes in this song
are put together very nicely, and I love this song. I have listened to Dr.
Balamurali Krishnas version, which made me persuade my mother to
teach me the song.
What I Like to Sing By Sidarth Nama , 7
I have learned some Thyagaraja Kritis, but I am yet to learn
Shyama Shastrys kritis. When I sing Thyagarajas songs, (and if I understand the meaning), the stories in the Ramayana come to life with
the songs. My Mom and I use these songs to make Harikatha stories. I am doing one Harikatha this year about the power of Bhakti.
I like sad raagams. My favorite raagam is Panthuvarali. It is

21
meal, after enjoying the fruits of wealth, after enjoying the company of
good people, etc. Once again, the correlation seems to hold up quite
well that Tyagaraja uses Bilahari to express his feelings of contentment, gratitude, peace and happiness.
The kriti Kori sevincha, there appears to be a softly happy
mood, although it is a fairly standard theme of praise to the Lord and
contains some beautiful similies. For instance, he says that Ramas
mercy is like a seed to the mind, that Rama is like a pot filled fully with
superior qualities, etc.
In Narasimha, we see a different theme, but one which is
found in many of his compositions in general. That is, he is pleading for
the mercy of Lakshmi Narasimha to take care of him, at a time when
people are casting blame and accusations against him and that the
Lord would protect him as He did for Prahlada, etc. So, we do not see
the exuberance or contentment here, although the quality of the pleading is warmer and not soaked in sadness.
Finally, in Toli Janmamu kriti, we see a full round about of this
correlation thesis! Here Tyagaraja reverts to self-criticism sounding almost like self-abasement. He refers to his despicable acts of the past,
the baneful effects of his deeds, and himself as a sin-ridden soul[3].
There is no happiness in these lyrics. What happened to my
theory? What happened to the correlation between Happiness and Bilahari?
I thought I was onto something - almost a proof. Oh, well!
Acknowledgements: The author would like to thank Vasant Kumar Nagulapalli, who promptly reviewed the article and made several useful
suggestions for improvement.
[1] Sangitha Jagadguru Sri Tyagaraja Kirthanalu Prathama Samputam by Bhavaraju Narasimharao and T.S. Parthasarathy, published by
Triveni Publishers, Machilipatnam, AP, India, 1983.
[2] "Tyagaraja Keertanulu Vol I," by Kalluri Veerabhadra Shastri, published by Swadharma Swaarajya Sanghamu, 10 Padma Rao Nagar,
Secunderabad, AP/ 95, Broadway, Chennai 1, 1975.
[3] Compositions of Tyagaraja, by T.K. Govinda Rao, Ganamandir
Publications, India, 1995.
[4] Tyagaraja: Life and Lyrics, by William Jackson, Oxford University
Press, Madras, 1991.
TYAGARAJA AND MUTHUSWAMI DIKSHITAR Two Great Composers of Diverse Natureby H.Y. Rajagopal
When you think of the trimurtis of Karnatak music, you cannot
but be struck by how diverse Tyagaraja and Muthuswami Dikshitar are
in their approach to music and styles of composition, despite sharing
many common elements. Bhakti or devotion to god guided every step
of their lives but even in the type of bhakti they embodied and the way

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20
and/or the society) or melancholic type or (as Prof. Jackson points out
in [4]) on music itself. Few, I think, are of true and simple happiness or
joy.
Having said that, let me now ask the question: Are the lyrics of
all of Thyagajaras kritis in Bilahari expressing happiness and joy?
By my count, 10 Bilahari composistions of Tyagaraja are available today. They are: Kanugontini; Dorakuna; Intakanna Anandamemi;
Najivadhara; Korivachchitinayya; Narsimha Nannu; Nivegani Nannu;
Sarasiru Nayana; Vasudeva Vara and Toli Janmamu.
I already made a case that the first two songs are filled with
happiness and cheer. Interestingly, Intakanna is also a rare song in
which Tyagaraja is expressing sublime happiness that he felt, during his
states of meditation and puja. He talks about the joy in nada-anubhava
(experience of the internal source of music), the state when he is oblivious to the physical body with its distracting senses and becomes one
with the Universal Entity. He goes on to say that in this state of meditativeness, the varied worlds shine as a single Paramathma. In the Hindu
theological terminology, the word Ananda is a rather strong word expressing almost supernatural Joy and in this song, Tyagaraja is actually
describing his experience of that Joy. (Another song where Tyagaraja
uses this word is in Jagadaananda karaka. However, here the usage
seems to be a lighter application of the word).
Similarly, the lyrics of Naajivadhara are also very interesting,
as he appears to be content and happy with himself and is projecting
God in himself as the sight of his eyes, as the fragrance smelt by his
nose etc. It is well known that the music in this kriti is of the highest
quality. It was written that this kriti, alongwith Darini Telusukonti in
Suddha Saveri, are among the most musically sophisticated compositions with 7 and 8 challenging variations (sangathis) in their Pallavis
alone. There is also an anecdotal account about this kriti. Unbelievable
as it sounds, it is written that a person who was apparently dead after
falling into a well was brought back to life on singing this song next to
him. Is this another testimony to the invigorating power of Bilahari raga?
The lyrics of Nivegani appear to be written in a fairly content
state of mind, in which Tyagaraja is gratefully acknowledging the grace
showered on him and his family. For instance he says that the Lord has
given him all that he ever asked for. He compares the Lord as his personal wealth that was acquired by the tapas of generations of his elders.
The lyrics of Vasudeva Vara are rather simple in their meaning
and expression. They are almost like a simple namavali and I am
tempted to conjecture that it was probably one of earlier compositions.
The lyrics of Sarasiruha nayana are quite amazing in the expression of complete contentment with himself and with the grace of
Rama that feels to have enjoyed. He gives a long list of analogies, comparing to the feelings of contentment after having eaten a delicious

a sad raagam, but makes me feel sadish happy when I sing it. I think
the M N in panthu varali make it sad. I love to end the panthuvarali
with the following ending swaram that Mami taught me:
G, RGR SRS NSN,DND, PMGR.., GND, NSND PMGR, MG rssn RS
Tyagaraja Aradhana: A Tradition in Transition
by Vidyasankar Sundaresan
The first thing that strikes me about Tyagaraja Aradhana celebrations in the USA is that it is one of the seminal unifying events in the
cultural landscape of the diaspora of south Indians. I grew up in Mumbai, which is neither south Indian nor north Indian in its ethos. Every
year, sometime in January, every cultural group with links to southern
India would organize its own Tyagaraja Aradhana. Thus, in addition to
the organizations that are dedicated solely to the performing arts,
groups like the Tamil Sangam and the Andhra Mahila Sabha also used
organize their own events. The scenario in the metropolitan centers of
the United States is quite different. Either due to lack of critical numbers
in the Indian population or due to the sheer magnitude of organizing
such an event, we do not generally see each linguistic group organizing
its own Tyagaraja Aradhana. On the other hand, this is a day when we
see musically oriented people of south Indian origin coming together to
organize and participate in a celebration of Carnatic music, without
splitting ourselves along linguistic lines. Another difference from Tyagaraja Aradhanas observed in India is that in the United States, we encourage and even emphasize the participation of children and students,
instead of focusing on adults. This is a refreshing trend that needs to be
nurtured, so long as our younger generation is encouraged to learn
Carnatic music primarily for the sake of music and not merely for an
opportunity to perform on stage!
That said, I also wonder about a few other dimensions of Indian
cultural and social life that we seem to be losing here in the United
States. Almost every Indian fine arts organization that organizes a daylong event with a prime position given to group singing of Tyagarajas
Pancharatna Kritis labels it as a Tyagaraja Aradhana. Some also organize other events with significant community participation to honor
other Carnatic music composers, particularly Muttuswami Dikshitar and
Syama Sastri. However, these are usually billed in a more prosaic fashion using Composers Day or some such term, and only sometimes
called an Aradhana.
The reason for honoring Tyagaraja with an Aradhana is probably lost on most of us. Historically, Tyagarajas immediate disciples and
grand-disciples started observing his Aradhana at Tiruvaiyaru and the
Carnatic music fraternity has kept up the tradition. The disciples of other
composers like Dikshitar and Syama Sastri did not observe an Aradhana for their teachers. There is a religious reason behind this. Dikshi-

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tar and Syama Sastri both died as householders whereas Tyagaraja

became a Sannyasi in his last days. In Hindu tradition, a Sannyasis
body is interred, not cremated, and no annual Sraddha rituals are conducted. Rather, his death anniversary is observed as an Aradhana, with
Puja rituals similar to those conducted in a temple. Of course, just like
in the case of the householder, the date of the Sannyasis death anniversary is also determined according to the Indian lunar calendar. Today, most of us do not know to keep up with the idiosyncrasies and
complications of the Indian lunar calendar and have instead got very
comfortable with the common solar-based calendar. Even for major festivals, we often resort to observing them on the nearest possible weekend. In the case of Tyagaraja Aradhana, each city organizes it according to convenience, the date having no relationship to Tyagarajas actual anniversary. Also, we honor the memory of Tyagaraja primarily
through rendering his musical compositions and any Puja is incidental
to the event. Under the circumstances, shouldnt we acknowledge that
the word Aradhana is losing its meaning and that it serves merely as a
placeholder for a name? Should we simply rename the event as
Tyagaraja Day?
Reader opinion is invited, at http://www.sruti.org/sruti/
srutiBulletin.asp.

Vira-rasa raga, capable of expressing, power, valor and action. It corroborates with my own experience. On the other hand, I think
Sankarabharanam raga can and tends to express calmness and peace
without any touches of melancholy. Indeed, the name of the raga
seems to have been aptly chosen the jewel of Sankara, which is a
combination of the words Sam and Kara, meaning one who produces
internal peace.
I wonder if the contrasting emotional aspects of these two ragas can perhaps be justified by the simplistic observation that Mohana
is made of 5 notes and Sankarabharanam of 7 notes within an octave
(a span of frequencies where the highest frequency, namely the higher
S, is two times the lowest frequency, namely lower S). Thus, the notes
are spaced closer in Sankarabharanam compared to Mohana. Thus
one can produce smaller subtler transitions and tonal variations in
Sankarabharanam than in Mohana. On the other hand, the tonal variations will tend to be larger in Mohana, leading to stronger and more
powerful effects.
In any case, Bilahari raga combines these two contrasting
structures, deriving out of that union the capacity to convey energy and
cheer coupled with peace and tranquility. Perhaps one can make a
quick energetic statement in the quick ascension and slide down on the
rolling slopes of the tranquil Sankarabharanam. Perhaps it gives the
composer the scope and freedom to execute very different strokes and
paint a charmingly contrasting picture.
Let us take a quick look at the notes behind Kanugontini Sriramune, Nedu. In quick ascension, [G,P,D,,,R#,S#,,,,, = Kanugontini]
Tyagaraja declares that he has discovered it! The presentation is quick,
sharply rising and definitive. He then elaborates in the slow descending
pace of Sankarabharanam [S#,,N DP,, D,,N DP, MGR = Sri Ramuni
Nedu] that he discovered Sri Rama today.
It is somewhat similar in Dorakuna Ituvanti Seva, where again
the pallavi ascends in Mohana scale although a bit more slowly and
descends with the slender beauty of Sankarabharanam. He sings
[S,,,R,,,G,,,P,,, ,, ,, ,, ,, ,, D, D, R#, = Dorakuna Itu] in the ascending
mode ands then [S#, ,, ,, ,, N, N, D, D, DP ,, ,, ,, M, G, R, G, = Vanti
Seva] in a smooth finish.
I humbly admit that the above analysis probably does extreme
disservice to the word analysis. It is as deep as a scratch made by the
breeze on a rock and as definitive as the writing on water! Unaddressed
here are the extensive sangathis and raga prasthara, which are oceans
to explore. I shall leave this difficult area and come back to the question
of a possible correlation between happiness expressed in lyrics of Tyagarajas kritis and the Bilahari raga.
Firstly, let me make a questionable observation that ecstatic
and joyous compositions of Tyagaraja are rare. My intuitive sense is
that most songs are either of Bhakti type or reflective type (on himself

A Masterpiece by St. Sri Tyagaraja

Authors: Vijaya & Rama Kunapuli live in Los Angeles, CA
Ragam: Jayanthasri, 20 naTabhairavi janya
Talam: Aadi
Aa: S G2 M1 D1 N2 S Av: S N2 D1 M1 P M1 G2 S
Pallavi:

Marugelara O Raghavaa

Anupallavi:

Marugela Charaachara Roopa

Paraatpara Surya Sudhakara Lochana

Charanam:

Anni Neevanuchu Antharangamuna

Thinnagaa Vedaki Thelisi Kontinayya...
Ninnegaani Madi Nennajaalanorula
Nannu Brovumayya Tyagarajanuta

Pallavi:
Marugelara: Why have you become hidden, why have you become imperceptible?
O Raghava: descendent of Raghu vamsa.
AnuPallavi:
Chara: animate
Achara: inanimate
Roopa: form

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Tyagaraja was apparently still quite young, his music teacher, Sonthi
Venkata Ramanayya invited Tyagaraja to come home and sing to the
group of invitees, which included many local music vidwans. One can
imagine that it was a special event for Tyagaraja and that he felt not
only happy but also somewhat recognized and proud of his musical talents. It was at this time that he sang the song Dorakuna Ituvanti Seva.
From [2], it appears that this kriti actually had been composed earlier
and Tyagaraja chose it, perhaps partly due to the implied pun in the
lyrics. The original context is claimed to be when Tyagaraja was doing
Uyyaala-seva, where the idols of the Lord are placed in a swing and
worship is offered through music and other means. In the kriti, Tyagaraja says that such an opportunity to serve the Lord is not obtained by
even Gods and pious people that have done less than sufficient penance! He goes on in the three lengthy charanams to shower profusely
and gloriously bountiful praise on the Lord and the service done by His
many devotees. Here is an extract from [3]: ..Sages like Narada and
Thumburu sing His praise in mellifluous strains. Devotees of the caliber
of Ambarisha chant His name in ecstasy, worship with choice flowers.
Brahma and Indra stand on either side proclaiming the Lords genealogy and titles sonorously. ..And there, on the gently swinging serpent
couch adorned with ruby necklaces, is seated in regal splendor Sri Hari,
the Transcendent Lord in all His majesty and glory.A shining golden
shawl caresses His emerald green body, the radiance of feet and nails
rivals that of the moon. Rich anklets adorn the feet. Diamond studded
jewels adorn the two arms, pearl necklace adorn the chest, as ear rings
sport around His ears, a faint smile radiates His face, as curly forelocks
gambol veiling and unveiling the saffron mark on His forehead, mirrorlike shining cheeks, the Embodiment of the entire worlds Beauty! .
Clearly, such colorful, joyous thoughts can only originate from a highly
positively charged state of mind and obviously, Tyagaraja chose to express them in Bilahari raga.
Irrespective of ones preference to various ragas, it is a commonly experienced fact that certain ragas tend to produce certain types
of human emotions. In western musical terminology, minor scales are
supposed to be more mellowed and expressive of sadness, unlike major scales. In our Carnatic musical classifications, listening to Mohana
often produces cheer, while Varali puts one in a somber mood. In this
sense, does Bilahari have an intrinsic characteristic to produce happiness? If so, it would be natural for Tyagaraja (or for that matter any
other composer) to choose Bilahari to express happy thoughts and feelings.
The arohana-avarohana (ascension-descension) structure of
Bilahari is sa-ri2-ga3-pa-da2-sa# and sa#-ni3-da2-pa-ma1-ga3-ri2-sa,
making it an asymmetrical raga. The arohana part is identical to that of
Mohana raga and the avarohana part is that of Sankarabharanam. Regarding Mohana raga, one of my music teachers characterized it as a

Paraatpara: Higher than the highest

Surya: Sun
Sudhakara: Moon
Lochana: Eyes
O Rama, why have you become imperceptible, even when you are the
one with Sun and Moon as eyes, the embodiment of animate and inanimate world, and the Higher than the highest?
Charanam:
Anni: Everything
Neevu+anuchu: I assume you are (everything)
AnthaRangaMuna: within the innermost soul
Thinnagaa: straight \ directly
Vedaki: having searched
Thelisi kontini: came to realize \ learn
Ninne Gaani: nobody else other than you
Madi: mind
Nennajaala: contemplate on \ fixate on
Norula: others
Nannu: me
Brovum: Protect
Ayya: father
Thygaraja-nuta: One praised by Tyagaraja.
By deep contemplation, inquiry, and search, I perceive you as
everything, and everything is within you. There is no place in my mind
for any body else other than You. I solicit your protection oh, my father.
My Thoughts on this krithi:
I am one of the many admirers of Tyagaraja, and would love to
refer Him as Thyagayya - father of all His admirers. I cannot help contemplating on Tyagayyas krithis consciously or subconsciously at all
times. Always wonder What was Thyagayyas state of mind when he
wrote each of the krithis.
Marugelara - one of the haunting melodies with rich lyrics that
beg for more than a superficial analysis. The word-to-word translation
may be good enough if we are interested in the literal meaning. However, if we dive little deep into this beautiful krithi, we will be left with the
question as to why Tyagayya pleads with the Lord for His grace. We
know Thyagayya wasnt asking for any worldly things. The question I
have here is what is it that Tyagayya is pleading Gods grace for? Isnt
it ability to fix mind on God or Paramatma - the Supersoul? What else
Thyagayya is asking for through this krithi?
In the AnuPallavi Charaachara Roopa Paraatpara, Tyagayya
says Lord is in animate and inanimate objects and He is the highest of
high. In the charanam Anni Neevanuchu Antharangamuna Thinnagaa
Vedaki Thelisi Kontinayya, he claims he realized Lord in everything,
everywhere, and deep within himself after intense searching - yet he
pleads for His mercy.

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Does it indicate, Thyagayya was able to intellectually understand and comprehend that the Lord is in everywhere and everything
but was having difficulty staying in that state of mind? Was he having
trouble meditating upon Him at all times? What was the agony
Thyagyya was going through?
Is this a Divine vision wherein one experiences unity of everything - Something that results after intense meditations and prayer for
the Lord? But then, he starts the song asking Lord Rama, why he is
hiding from him.
Thyagyya's beatific visions of Lord Rama, perhaps, are fleeting.
As he beautifully states in the song, he realized that Lord is behind everything. This infinite experience of Lord is perhaps alternated by finite
experience. In the sense the beautiful visions stayed temporarily leaving a residue that germinates an intense desire to seek Lord's mercy.
But why Lord's mercy?
It is known among people who meditate/pray consistently and
sincerely on Lord that such fleeting glimpses come and go - a penultimate state before Self realization. Yet the last leap into realization depends entirely on Lord's Grace. That explains Thyagayya's pleading for
Lord Rama's mercy.
Between finite and infinite experience, between the sweet visions and the loss, lies an agony that powered the lyrics and melody of
this beautiful song. As Gita states "Among thousands, one perchance
strives for perfection; even among successful strivers, only one perchance knows Me in essence". Thyagayya is certainly among select
few who was on his way to realize "Me in essence".
Given his Genius, he left us with a Kriti that captures those
states of mind, conveys those emotional moments so when we listen
intensely enough, we experience a faint glimpse of the sacred moments.
Like one of our good friends Chitrapu garu says may be is it
not better to think about some questions rather than be fed with lots of
answers. I try to put my inquisitive mind to rest for a while with this
quote but I get back to the old question hoping to come to terms with
my quest one day.

body and stirs the soul is most certainly the Bhakthi component. As
the master himself puts it, even the appreciation of music is the outcome of sincere devotion Sangeetha GnAnamu Bhakthi vinA. Evidently, the saint himself practiced what he preached, sternly refusing to
trade his bhakthi sangeetham for money, material or fame Nithi chAla
sukhamA.
Nothing in this mundane world is achieved without divine grace.
In the Kali Yuga, singing the glory of God is the sure and simple way to
success. This very aspect of Bhakthi towards god, towards the guru,
towards the elders and towards work is exemplified astutely by the
holy Saints precious works. Let us resolve to reinforce our unconditional love and devotion towards the divine so that Bhakthi becomes
the sum and substance of our very life.

BHAKTHI The Sum and Substance of Sri Tyagarajas Music

by Uma Sivakumar
Our humble offerings at the lotus feet of the revered musical
saint. As we celebrate the 161st anniversary of Sri Tyagaraja Swami, it
is worthwhile to reflect on the essence of his works that has stood the
test of time and generations. One can call these a musical Revolution,
but more importantly, they are a Revelation of a higher guiding value.
While the saints composition may be a connoisseurs delight because
of the lingual prowess and lyrical beauty, the aspect that penetrates the

The Raga of Tyagarajas Happiness: Bilahari?

Prabhakar Chitrapu
A long time ago, my alter-mother asked me what probably the
favorite raga of Tyagaraja was. At that time, I was not much into Tyagaraja and Carnatic music. Either I pleaded ignorance or gave some random answer, which I now do not recall. She thought it was Bilahari. Because, his songs such as Kanugontini Sri Ramuni and Dorakuna Ituvanti Seva were obviously composed during very happy moments in
his life and they were set in Bilahari raga. I could not argue with that.
Indeed, the anecdotal setting of Kanugontini Sri Ramuni is
that the idols of Rama, Sita et al, which Tyagaraja did his daily pujas
and japas to, were stolen by his jealous brother and thrown into the
Cauveri river. This obviously must have plunged Tyagaraja into an
abyss of depression and sadness. Indeed, there are compositions such
as Endu Daaginaado`? in Thodi raga, Ne`nu Endu Vedakudu ra? in
Karnataka Behag raga etc, in which Tyagaraja laments his sad state
and quest for the idols. After about 2 months [1], he apparently dreamt
about the exact location of idols, following which he promptly reclaimed
them. Considering how deeply Tyagaraja was devoted to Rama, one
can only imagine the ecstatic state of his mind then. However, looking
at the lyrics, one finds that there is little description of his personal feelings it is a rather plain description of the image of Rama, surrounded
by Sita, his brothers, Hanuman, Sugriva etc. Perhaps he was so positively shocked by the discovery of the idols that all he could do was to
sing what he saw and had no time for personal reflections? In any case,
the fact that the song he composed at that time was in Bilahari raga no
doubt would make a strong association between the raga and Tyagarajas expression of joy.
Similarly, the story associated with the composition Dorakuna
Ituvanti Seva is well known and goes as follows. Tyagaraja lived in a
small village called Thiruvaiyaru on the banks of river Cauvery. When