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CHAPTER- 4
ANALYTICAL STUDY OF THE EMINENT
WORK SANGITA SAMPRADAYA
PRADARSINI
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described m this book. The first hand information of this
book is very useful to the next generation. He writes about
the commentators on Sangita Ratnakara.
The patronage given by Kings to many composers is
also mentioned. The proficiency m languages, the mudras and
the special abilities of the composers have been described m
this section. The rare contributions of great personalities m
music also have been recorded.
For example: Subbarama Dikshithar mentions that
Venkatamakhi also wrote 24 ashtapadis on Sri Tyagaraja similar
to the Gita govinda of J ayadeva.
The wonders m the life of some composers are
mentioned. For example: The miracles that took place m the
life of Srinivasa, Kavi Matrubhutayya etc.
There is also given an interesting incident by defeated
jealous persons through knowledge and ability. For example:
The incident described in the life history of Kshetrayya.
The famous disciples of Tyagaraja and Muthuswami
Dikshithar are mentioned m this part. The Telugu padas
written by famous
also dealt with. A
Vaggeyakaras.
composers based
sub- heading is
on snngara rasa are
given for Dravida
Except the members of Dikshithar family and the Ettayapuram
rulers, a brief description of other great personalities given in the
Vaggeyakara charitram, of the work "Sangita Sampradaya Pradarsini" is
dealt here.
70
19. VIRABHADRAYYA
He was a Telugu trilinga Brahmin. He· was a great
lyrics writer. Among the Emperors of Maharashtra,
Pratapasimha was the most intelligent King, a genius in arts
and a generous and lovable who helped all the needy. Hearing
about his generous character Virabhadrayya travelled Venneti
gatta and later to see the king. One day the King himself
came to his room and listened the music of Virabhadrayya
and gave him many gifts. He took him to Tanjavur and gave
him a house to live m. From that time onwards
Virabhadrayya adopted the 'Prataparama' mudra, the name of the
presiding deity of Tanjavur. He composed a number of songs
m many rakti ragas. He composed darus, padas and tillanas on
Emperor Pratapasimha.
20. KA VI MATRUBHUTA YYA
He was a trilinga Brahmin and a scholar m Music
and Telugu. He lived m Tiruchinapalli. He was an ardent
devotee of Sugandhi Kuntalamba. By Goddess's grace he
composed many devotional kritis and padas. He also wrote a
drama called "Parij atapaharanam". His stamp signature IS
'Trisiragiri'. When Matrubhutayya sang songs before Goddess
(particularly the song 'Kasi ppanamevalenamma') the Goddess
appeared m his dream and told him to go to Pratapasimha
m Tanjavur and he would certainly get rid of his poverty.
The Goddess also come m the dream of Pratapasimha and
wanted to help her devotee. The King very much pleased
78
great musical achiever than his father. He lived during the period of
.· d,cSarabhoji Maharaja. 1
;::J,:�24. SY AMA SAS TRI
The parents of Syama Sastri were devotees of Sri
Kamakshidevi. As they have no son, they offered devotional
offering to Venkatachalapathy. In the year AD 1763 Syama
sastri was born to these devoted Brahmins. At Tiruvarur,
i\\,�even in childhood he became an expert in the languages of ,'·?
Sanskrit and Telugu. He learned all the intricacies of musical
grammar and lyrics from the saint Sangita Swami at Tanjavur.
The saint blessed him that he would become very famous in
studied music from Adiyappaiyya for sometime.
"Syamakrishna" was his mudra. He composed· many kritis,
swarajatis and tanavarnas. Lyrical beauty, poetic felicity and
intricate tala patte1n are the special qualities of his
compositions. He had two sons. Out of them, the second son
Subbaraya sastri was a scholar in Sanskrit, Telugu and Music
like father. He also composed many kritis and swarajatis. The
talented music composer Annaswami Sastri, is the grandson of
· Syamasastri.
25. GURUMURTHY SASTRI
He was a Trilinga Brahmin
I was born m Tirunelveli and
sastrams. He was very talented 'ft�
•
;Jj writer of Gitas, Prabandhas and
of Muriki nadu sect. He
well versed m Chatur
m Music and exceptional
Kirtanas. He was expert m
raga alapana and younger contemporary of Ramaswami
Dikshithar.
80
49. PARIMALARANGA
An expert writer of padas, his padas consists of
poetic beauty, rhythm and diction with the mudra "Parimalaranga".
He lived near Chennapattanam.
50. SARANGAPANI
He was a pada composer. Sringara, hasya are the
dominant rasas he dealt with in the padas. "Venugopala" 1s
the mudra used . for his compositions. He was a Telugu
Brahmin from Northern country.
51. MERA TTUR VENKA TARAMA SASTRI
He lived m the village Merattur near Tanjavur. He
lived during the time of Sarabhoji Maharaja. He was a
scholar in Telugu language. His padas were adorned with
beautiful expressions and the dominant rasa is snngara.
52. TELUGU P ADA COMPOSERS (SRINGARA RASA)
Name
1. Ghatapalli
2. Bollapuram
3. Jatapalli
4. Sobhanagiri
5. Inukonda
6. Sivaramapuram
7. Vemamgi
8. Mallikarjuna
Mudras
Kailasapati
Bollavaram
J atapalli gopala
Sobhanagiri
Inukonda vijayarama
Sivaramapuram,ramapuram
Venamgi
Mallikarjuna
.;Jhey are Telugu Brahmins from Andhra.
88
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3. Elanamnne cevu Pumachandrika Rupaka RamaswamiDikshithar 4. Entanine Khamas Tisraeka Subbarama Dikshithar
I virahame Nilambari Ata Purvikar , . .6. Rammanave Hindolam Ata RamaswamiDikshithar
· 7. Rupamu juchi Todi Adi MuthuswamiDikshithar 8. Sarni nine kori Sriranjani Adi RamaswamiDikshithar
. Samiyentani Suruti Adi SubbaramaDikshithar
?)10. Sareku Anandabhairavi Adi SubbaramaDikshithar
. '·:11. Sri Kamalamba Manohari Adi RamaswamiDikshithar 12. Valachi vachi Hindolavasantam Rupaka RamaswamiDikshithar
Vamsavati Adi Bal uswamiDikshithar,
MuthukumaraPulavar
There are '27' tana vamas are included in Sangita Sampradaya radarsini.Subbarama Dikshithar says that tanavamas are usually sung in adhyamakala or medium tempo. Subbarama Dikshithar has to his
;·y��credit '8' tana vamas.The other Tana Varna composers whose�-'-:�;}i Wlcompositions presented are Vina Kuppayyar (5), Pallavi Gopalayyar (3), .· •'>·
}tJKuvanasamayya (1 ), Tiruvarur Ayyaswami Nattuvanar (1 ), ',�SontiVenkatasubbayyar(2 ), Govindasamayya(2 ), Syamasastri( 1 ), :�-:�;-.
Tirunelveli Vengu Bhagavatar ( 1 ), Ramaswami bikshithar ( 1 ), Baluswami Dikshithar ( 1) and Pachimiriyam Adiyappaiyya ( 1 ). LIST OF TANA VARNAS
Sahitya Raga Tala Composer
. 1. Amaguvaninne N arayanagaula Ata Vina Kuppayyar 2. I intachalamu Kambhoji Ata Pallavi Gopalayyar 3. Intachalamu Begada Adi Vina Kuppayyar 4. Intaluka Nattakkuranji Ata Kuvanasamayya 5. Intamodi Darbar Ata SubbaramaDikshithar
97
LIST OF P ADAS
Sahitya Raga Tala Composer
1. Adiyaramba Todi Adi KatigaiMukku Pulavar,
(Swarasthana pada) Baluswami Dikshithar
2. Aligite Husani Triputa Kshetrayya
3. Caracaturai Sama Triputa Baluswami Dikshithar,
(Dravida pada) MukkuPulavar
4. Chollakkel Sriranjani Misraeka Mukku Pulavar
(Dravida pada)
5. Daniprayamu Kalyani Adi Sarangapani
(Swarasthana Pada)
6. Ekkadiki poyya Bhairavi Adi Kuppuswami Ayya
7. Emdukuyi Kambhoji Misraeka Venkateswara Ettappa
8. Imdemduva Begada Misraeka Subbarama Dikshithar
9. Innallavale Paraju Adi Prachina pada
10. Intapperumai Malavasri Misraeka Mukku Pulavar
(Dravida pada)
11. Inticakkadana Mohanam Adi Matrubhutayya
12. Mosamaye Ahiri Misraeka Pollavaramuvaru
13. Nanupari Tanukirti Khandatriputa Manali Chinnayya
Mudaliyar
14. Natironinnu Nattakkuranji Triputa Prachinar
15. Parikkani Kalyani Tisraeka Subbarama Dikshithar
(Swarasthana pada)
16. Sivadiksaparu Kuranji Adi Ghanam Sinayya
17. Teliseni Husani Adi Kshetrayya
18. Tomdaravida Saindhavi Misrachapu Kshetrayya
19. Vadarakapo Kambhoji Ata Kshetrayya
20. Vaddante Paraju Rupaka Kuppuswami Ayya
99
The pada 'Emdukuyi', set in Kambhoj i raga, was composed by
Maharaja of the time Venkateswara Ettappa in the form of a question
answer conversation between Lord Muruka and Valli appeared as an
elephant and caused concern for Valli.
PRABANDHA
In this musical presentation, the varieties such as Desiya
prabandha (Kapay), Kaivara prabandha, Lakshya prabandha, Umatilaka
Prabandha and Sriranga prabandha are included in Sangita Sampradaya
. Pradarsini of Subbarama Dikshithar.Among the '1 O' prabandhas, six are I
composed by Venkatamakhi. Ramaswami Dikshithar (1), Purvikar (2)
and Ramananda Y ati ( 1) are also included .
.. · LIST OF PRABANDHAS
Sahitya Raga Tala Composer
1. Chandasela Hamsadhvani Matya RamaswamiDikshithar
(Lakshya prabandha)
2. Drigdudhim Chalanata Rupaka Venkatamakhi
3. Jaya jaya Gauri Dhruva Ramanandayati
4. s, s mgr s Mechabauli Triputa Venkatamakhi
(Umatilaka prabandha)
5. S s n n d d p m Husani Eka Venkatamakhi
(Umatilaka prabandha)
6. Tattad gita Paraj Adi Purvikar
(Desiya prabandha)
7. Tattaittaiyya Y amunakalyani Adi Purvikar
(Desiya prabandha)
8. Tkat kato Gaula Jhampa Venkatamakhi
9. Todgi dam Narayanagaula Matya Venkatamakhi
(Kaivara prabandha)
10. Uddhataripuja Bauli Eka Venkatamakhi
(Sriranga prabandha)
100
DARU
\.-\.� U 1·.· 1-!_t,f� � '-,1/r\�
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u131 I f / H:r f. �:-' \ ·f':; Daru is like a pada but sung in a faster tempo. The · :_�g�pul¥ � ,,./ � �;'
. darn of Muthuswami Dikshithar 'Nisatidaivamentu' set in - 'A: -·�-��
raga is also notated in this work. Apart from this, there 1s other '5' darus are seen. It is interesting to note that all of the darus are
};-i \ composed by the members ofDikshithar family. LIST OF DARUS
Sahitya Raga Tala Composer
I. Nive rasika Rudrapriya Adi BaluswamiDikshithar
2. Nisatidaivame Sriranjani Rupaka MuthuswamiDikshithar
3. Sarasagre Natanarayani Tisraeka SubbaramaDikshithar
4. Sarasanaya Gangatarangini Tisraeka RamaswamiDikshithar
. 5. Sri Karudani Yadukulakambhoji Adi Subbarama Dikshithar
6. Samikisari Vasanta Rupaka BaluswamiDikshithar
In the daru in Gangatarangini raga in tisraeka tala, both the dhatu and matu form palindromes, like sarasa nayana sarasa. For example:- The pallavi is,
s,, r s m g m s r s , I sa ra sa na ya na sa ra sa I
SWARAJATI
s ,, n d p p d n s,11 sa ra ta ra ra ta ra sa II
The swarajati originated as a dance form with jatis. Including the three swarajatis of Syama Sastri, Subbarama Dikshi� also lights on the swarajati of Adiyappaiyya. The five swarajatis shown in Sangita Sampradaya Pradarsini are seen below.
101
TILLANADARU
This musical form is like the Tillana with the angas pallavi,
anupallavi and charana.But the major portion of Tillana daru consists of
words on the model of daru with a few jatis. Therefore it is a misra
prabandha.The only one composition notated in Sangita Sampradaya
Pradarsini is composed by Krishnaswami Ayya.
Sahitya Raga
Nadiridani S uruti
JATISWARA
Tala
Adi
Composer
Krishnaswami Ayya
There is only one jatiswara is seen in Sangita Sampradaya
Pradarsini. It is composed by Subbarama Dikshithar in Y amunakalyani
raga.
s d,p,m -Yamunakalyani -Adi tala
SWARASTHANA VARNA
Subbarama Dikshithar recorded only one of this type and is
composed by Ramaswami Dikshithar, the great grandfather of Subbarama
Dikshithar. This Swarasthana V ama follows a format similar to that of a
kriti, with pallavi, anupallavi, charana and muktayi swara after the
charana.
s r g, n T odi raga - Adi -Ramaswami Dikshithar
The swara and sahitya are identical all through, except the charana
line where the name of the royal patron appears.
For eg: - In the pallavi
s r g,n d,n . . .
sari ga ni da ni
II p, m r
II pa ma ri
103
In n ,, p d Ii . .
, .
I nini pa da II!
This composition is in praise ofManali Chinnayya Mudaliyar.
RAGAMALIKA
Anubandham 'A' of the great work Sangi ta Sampradaya Pradarsini
consists of '16' Ragamalikas.Among these ten compositions of
Subbarama Dikshithar, two of Muthuswami Dikshithar and four of
Ramaswami Dikshithar are given m musical presentation.The
incomparable ragamalikas '108' Ragatalamalika and Chaturdasa
ragamalika are also included.
LIST OF RAGAMALIKAS
Sahitya
1. Endukurara
2. Garavarnu
3. I kanakarnbari
4. Karnimcina
5. Manasaveri
6. Manatodi
7. Natakadi
8. Nisarile
9. Priyarnuna
::, 10. Purnachandra ?_;
! :�: ::�:hanat.· 13. Sriviswa
14. Valapumiri
15. V anitaro
16. Vedukato
Raga
9 ragas
9 ragas
72 ragas
32 ragas
13 ragas
6 ragas
Tala
Rupaka
Rupaka
Adi
Tisraeka
Rupaka
Adi
108 ragatalarnalika
9 ragas
10 ragas
6 ragas
20 ragas
44 ragas
14ragas
4 ragas
4 ragas
5 ragas
Tisraeka
Tisraeka
Rupaka
Adi
Adi
Adi
Rupaka
Rupaka
Rupaka
Composer
SubbararnaDikshithar
SubbararnaDikshithar
Subbararna Dikshithar
SubbararnaDikshithar
RarnaswarniDikshithar
SubbararnaDikshithar
RarnaswarniDikshithar
SubbararnaDikshithar
SubbararnaDikshithar
MuthuswarniDikshithar
RarnaswarniDikshithar
RarnaswamiDikshithar
MuthuswarniDikshithar
SubbararnaDikshithar
S ubbararnaDikshithar
SubbararnaDikshithar
The ragamalikas of Muthuswami Dikshithar and Ramaswami
Dikshithar are in praise of the divine deity. But the ragamalikas of
104
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LIST OF RAGAS
Abheri Devagandhari Hamveeru Lalitapancharnam
Ahiri Devakriya Hindolam Malahari
Amritavarshini Devamanohari Hindolavasantam Malavagaula
Anandabhairavi Devaranji Husani Malavasri
Andhali Desisimharavam Isamanohari Malavapanchamam
Arabhi Dhalivarali Jaganmohanam Madhavamanohari
Ardradesi Dhamavati Janatodi Madhyamavati
Asaveri Dhanyasi Jayasuddhamalavi Mahuri
Atana Dhavalanga Jhankarabhramari Mangalakaisiki
Balahamsa Dhautapanchamam Jivantika Manirangu
Bauli Dhirasankarabharanam Joti Manji
Begada Dhunibbinnashadjam Jujavanti Manohari
Bbanumati Erukalakambhoji Kalavati Manoranjani
Bbairavam Gamakakriya Kedaram Margadesi
Bhavani Gangatarangini Kiranavali Maruva
Bbairavi Ganasamavarali Kambhoji Margahindolam
Bhinnapancbamam Gaudipantu Kanakambari Mechabauli
Bhogachayanata Gaula Kannada Megharanjani
Bhupalam Gauri Karmadagaula Mohanam
Bhushavati Gaurivelavali Karuiadabangala Mohananata
Bilahari Geyahejjajji Kapi Mukhari
Brindavani Ghanta Kasira.makriya Nabhomani
Chalanata Gitapriya Kokifaravam Nadaramakriya
Chamaram Girvani Kumudakriya Nagabharanam
Chaturangini Gopikavasantam Kwanji Nagadhvani
Chayagaula Guntakriya Ku.sumakara Nagagandbari
Chayavati Gwjari Kumbhini Nagavarali
Chayararangini Harikedaragaula Kuntala Namadesi
Darbar Hamsadhvani Lallira Narayani
Narayanagaula Pumapanchamam Saurashtram Sri
106
N arayanadesakshi Purvavarali Saugandhini Sriranjani
Nariritigaula Purvi Sauveera Stavaraja
Nasarnani Purvagaula Senagrani Suddhadesi
Natabharanam Ragachudamani Sindhuramakriya Suddhadhanyasi
Natanarayani Ramakali Sivapantuvarali Suddhasaveri
Nattakkuranj i Ramamanohari Salagabhairavi Suddhavasantam
Navaroj Rasamanjari Salanganata Sumadyuti
N avaratnavilasam Ratipriya Samala Suruti
Nayaki Ravikriya Samanta Takka
Nilarnbari Revagupti Santakalyani Tanukirti
Nishada Rudrapriya Santanamanjari Tarangini
Padi Rupavati Saranga Udayaravichandrika
Paraju Sahana Saravati Vamsavati
Phenadyuti Sama Sarasvatimanohari Vasanta
Punnagavarali Saindhavi Saveri Viravasantam
Purnachandrika Sailadesakshi Saurasena Yamunakalyani
(C) MUSICAL ASPECTS
In this section an attempt has been made to examine the musical
embellishments found in Subbarama Dikshithar's compositions. He had
an inborn talent in composing various musical forms which he nurtured
and developed properly by his own effort and the support given from
Baluswami Dikshithar. His kritis and other musical forms combine in
them literary and musical excellences. The decorative angas of kritis and
how they are figured in the kritis of Subbarama are briefly done in this
part.
Sangathis
Sangathis are variations on a musical theme, developed step by
step. Each sangathi is an evolution from the preceding one and marks an
107
I" t
improvement upon it. They are highly enchanting and serve to tone up thet entertainment value of a musical composition. Sangathis heighten the
raga bhava and artha bhava in kritis.
Subbarama Dikshithar has introduced excellent sangathis in his
kritis.
Example
1. The pallavi of"Tripurasumdari" in Nattakkuranji (10 sangathis)
2. The pallavi of "Sankaracaryam" in Sankarabharana raga (3 Sangathis)
His kritis in Maruva (a rare raga) "Emamma" and Kalyani raga
"Kamtimati" there is no sangathis in the pallavi. His other kritis have two
or three simple sangathis. He has introduced less number of sangathis in
his kritis.
Madhyamakala sahitya
This is another technical beauty found in the kritis of Subbarama
';, Dikshithar. It is an inseparable part of the kriti composition. ;, Madhyamakala is sung at the end of the anupallavi or charana or both.
They add lustre and liveliness so as to give a brilliant and effective
ending to the whole piece. Subbarama Dikshithar introduced this beauty
in most of his kritis. Excellent examples are found in his compositions.
1. Tripurasumdari -Nattakkuranji
Kaladhari guruguhanutasa kalamodakari samkari
Kalapi kalapaka cabhara kalanidhi vadanasuradana
108
-Rupaka
Charana
,,
;,
,,
2. Kamtimati -Kalyani
Kamtarakamtara kamtasali vatipuri
Kamtakamtavani kamtavinutacarana
Murasurari sodarimoralakimncarada
Dharadharasutamadhuradharadharadharakaca
-Rupaka
Anupallavi
Charana
� 3. Sankaracaryam -Sankarabharana -Adi
Karakalitadamdaka mamdalam
Kasayadharamvinatamunimamdalam
Varamati vij itaharakumdalamsubha
Varadam natadharakhamdalam sri
Chittaswara
Charana
The groups of swara or solfa passages that have been composed and
figuring in the musical compositions may be generally referred to as
"Chittaswaras". The word 'Chittaswara' is not used in this great work Sangita
Sampradaya Pradarsini. The term 'Muktayi swara' is given in Pradarsini for the
swara passages in both ragamalikas and varnas. 'Chitta' is a Telugu word which
means (Kalpitamu) kalpita or something previously thought of and arranged.
This is a set of solfa passage in 2 or 4 avartas if in Adi tala, and 8 or 16 if in
Chapu, Triputa or Rupaka tala and is sung at the end of anupallavi and charana.
The kritis of Subbarama Dikshithar are decorated with brilliant
chittaswaras, like a bunch of flowers adorning a beautiful creeper. The
following are some of the kritis of Subbarama for which chittaswaras have been
introduced.
109
1. Sankaracaryam -Sankarabharan a
II L.!!.Q d n s,,, pm gr s, I,, d pm gr s . . . .
II s. n p d n s , , , p m g r s , , , d p m g r s , ,
-Adi
l,sn dpmgrll
sn dpmgrl
I s. r g m o , d n s r , g m g g I r s s , d o o , m g r s , m g r I I s d o m g m
This chitt aswara is an exampl e where in some avartas are in
vilambakala and some in madhyama kala.
2. Srivalli pate -Nagaswaravali -Chaturasra eka
IU!ls,dpmpm gl m,gmp,m,Jmd,
IU!lssddpmpdlsdpmgpmgJ
s,s,sgmglm,gmpmp,Jsgmpmd:pdJ
s s g g s s g g I m , m , m g I s s s g s s d, I
d s d d p , p d I s s ,s d s d p I p p m p m m , g I
pmg,mgs,lmgsdpm
In t his chitt aswara more prominence is given to janta swara prayogas.
3. Devi divyanama -Me chaba uli -Rup aka
11 � I , P g <l p <l p m 1 1
11 kQ I, g <l p <ls n d 1 1. . . .
11 g_J!_Q In pd n p <l pm 1 1
g,, m I gr s s n d pm II
• • • t
g_,_,_r I g p m g <l d p m 11 -
&..llill sndnddpp 11
11 m g, p d I s m g p d s n <l II g ,r s I n d p m g , p m I I
It is important to note that all the avartas begins on gandhara and thre e
sthayis of gandhara is also se en. It is n ote that mandra sthayi gandhara is rarely
seen in compositi ons.
I I 0
� k
Solkattu swara sahityam
This is a passage of solkattu with, a sprinkling of a few avartas of
swaras in the middle. In addition, there is sahitya for the whole passage.
The solkattu part with the interspersed swaras is first sung and this is
followed by the singing of the sahitya.
� For eg:- Tripurasumdari t
- Nattakkuranji -Rupakat
r \N.d ,n S r gmg I M . I p I \G / m \ R / g S
Taj jam
Ka tya
ta jam ta ka na ka
ya ni ka li ka lu
Jam
sa pa no di m pramo
rgm/p lg / mr/gs / r\Sl / grS Ir Sm /pg r s II
Tari ki t a ta ka ti mita ka jam
Di nisa ka la bhuvana ja na m va ra da y1 m ma da sa ma ni
n S s I/ n D n \ p d n s \ n s n/ r I, s n d /n \Pd I
Ta jam ta
Ka darn ba va m v1 ha ri ni
ta ri ta je
bhuja ga ve
ku ..
ni ma dhu ra va ni
n s r g I / m / p \ R s s N d I p d n / s I d p m / p g r S II
ta dd hi nu.
Sma ra ha ru m . . . ra m pu ra m
. ta ka di g1 ta ka ta dim gi na tom
na ta ja na na li na di na ma ni
It is believed that this is the only composition of Subbarama
Dikshithar with solkattu swara sahitya.
Apart from the above mentioned decorative angas, which pertain to
the dhatu of pieces, we have a few literary or rhetorical· beauties, which
add lustre and charm to the sahitya of the kritis. Very few Vaggeyakaras
have introduced such embellishments in their kritis as it needs literary
and poetic gifts of a high order, and a thorough knowledge of music, to
112
successfully create such technical beauties. Let us find out such beauties
in Subbarama Dikshithar's compositions.
r; �; Swarakshara �
Swarakshara is the decorative anga in which the swaras and the
aksharas or sahitya syllables are identical or almost identical.
Swaraksharas may be mainly of two kinds; the suddha (pure swarakshara)
and the suchita (suggestive swarakshara). In the first, the swara and the
sahitya are identical. In suchita swaraksharas, the swaras and sahitya
syllables are not exactly the same but are slightly different due to change
in the vowels or due to the use of like sounding consonants in the place of
consonant which would be identical with the swara.
Eg:- Kamtimati -Kalyani -Rupaka
g, fil.Q{ m} p'
kam ti - ma ti -Suddha swarakshara
Sarakanana -Sriranjani -Rupaka
-Suchita swarakshara
Although Subbarama Dikshithar has composed· several musical
forms, Kritis form the bulk of his compositions, totaling to '12' , next
, Ragamalikas ' 10' , Tana vamas '8' and so on. He has composed kritis on
various Gods, Goddess and Acharyas (Sankaracharya).His kritis in
Kalyani, Bhairavi, Sriranjani, Nattakkuranji, Sankarabharana,
Yadukulakambhoji can be considered as shining golden coins in the
repertoire of music world. His compositions in Maruva, Nagagandhari,
Nagaswaravali and Mechabauli have become rare and evershining pieces
in musical tradition.
113
Danavanikara vidaraka dasakuvalayasu
dhakaradhatrmada pahada nanidanamu
daspada vibudha lisenadhara dhrtanipadama
The fourth swara is set as sarva laghu. The range of this vama is
from mandra sthayi dhaivata to tara sthayi madhyama.
As it is blended with the special swara patterns which gives sweet
swara combinations, there by it enhances the splendour of this vama. It
is interesting to note that he had special favour in composing the
Yadukulakambhoji raga, Apart from this tanavama, two more
compositions, one a kriti begins with 'parthasarathy', other a daru begins
with 'sri karudani' has to the credit of Subbarama Dikshithar in
Yadukulakambhoji raga.
'srfmaharaja - Tanavarna (Atana, Ata tala)
This tana vama is a longer composition compared to other tana
vamas of Subbarama Dikshithar. It is composed in honour of
Venkateswara Ettemdra Pandiyan. The purvanga comprises of pallavi,
anupallavi and muktayi swara. The uttaranga comprises of charana and
'7' charana swaras. Anubandham is given at the end. of the charana
swaras as a separate section and this is also so long. All sections have
sahitya.
In the anupallavi, Subbarama Dikshithar included the Raja mudra
as "Sri Venkateswara Ettemdra sadguna samdra".
Of the seven charana swaras, the third swara is shadja swarantam.
Marnjula vacanarasa mrta saha sa jitasa
rasarpasarvabhauma sadhunivaha sadhva
sapaharasahasamkamanasaraga nusare sareku
116
"Kamimcina" in 32 ragas by Subbarama Dikshithar is a classical instance
of a ragamalika with sahitya for chittas\varas and viloma swara sahitya.
This raga malika is also in praise of Sri Parthasarathy.
Manatodi - Ragamalika (6 ragas, Adi)
The ragamalika • rvtanatodi' set in Adi tala is a Tamil composition.
This composition has the angas pallavi, anupallavi and charana. Pallavi
is in Todi raga, anupallavi in Sri raga and charana consists of Khamas,
Bhairavi, Yamuna, and Nattakkuranji. The Vaggeyakara mudra is
incorporated to the swara sahitya of the Anupallavi
Kolahala subhakaral1la surakulakala sugunasi1a guruguha .
Raga mudras are also seen in the particular sections.
The Raja mudra mentions in the Anupallavi as 'Kanakamazhai
pozhiyum Sri I\11uthuswami yettama'.
Nisarilerani - (9 ragas, Tisraeka)
The Navaratnamalika 'Nisarilerani' is set in the tala Tisraeka and it
1s composed in honour of Sri Rama Varma Tiruvadi, Maharaja of
Travancore. The ragamalika begins in Kalyani and goes through the
ragas Khamas, Begada, Maruva, B_alahamsa, Vasanta, Yamuna,
Manirangu and ends in Todi. This brilliant ragamalika of Subbarama
Dikshithar, is a classical instance of sahitya for chittaswara and viloma
swara sahitya. The vaggeyakara mudra appears in the swara sahitya of
B 4th section (Maruva raga). The Rajamudra is seen in the swara sahitya of r'.
9th section "Bala sri ramavarma kulasekhara maharaja Kiri!apatini
brochu".
121
Lord Sriramachandra. It is fomnd tl:nat chlttaswaras have sahitya in this
ragamalilka There is no mak"llta swam and viloma chittaswara. This
should be so.mg exaictBy Rike 1the Kred:air.a rngamallika "'"Endukurara"" set in
Rupalka Talla.
I Kaoakambari - (72 Ragaoga ragamalika.,, Adi tala) ··
'"I Ka.nak:aunrnb:aurm·. the 712 Raga.111ga iragamallika. the magnum opus
compositiollll of SubbarJ1J1na Dnkshniliar is set in Adi rala and illusttrat:ing
the 1'2 mellakartas according to the Asa.mpuma mda paddhati propounded
by Venka1tan1.1.khii Subb:aranua Dn.ksru1thar composed the Dhatu (music)
and Krishna Kavi,, the �latu (sahitya). It is important to note tha1t it is the
only ragamalika ,,ith chittaswara in each section. We can see
malrutaswara at the end of each ch:akra also.
Literacy and musical brilliance of the kriti forms are done in the