45 ~ Karnatak composition has a component of the ... - Shodhganga

Karnatak composition has a component of the emotion or sentiment conveyed in the composition. It is probably because of this fact that most Karnatak music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and thus the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that create the effect that was intended by the composer in his or her composition. There are many types and forms of compositions. Geethams and Swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises, and while there are many other types of compositions including Padam, Javali and Tillana and the most common forms are the Varnam, and the Kriti (or Keerthanam).Many composers have contributed to Karnatak music. Purandara Dasa (1480 - 1564), known as the pioneer or father (Pitamaha) of Karnatak music, formulated the basic lessons of Karnatak music. He structured graded exercises known as Swaravalis and Alankaras,

and

at

the

same

time,

introduced

the

Raga

Mayamalavagowla as the first scale to be learned by beginners. He also composed Gitas (simple songs) for novice students. Although only a fraction of them still exist and he is said to have produced around 475,000 compositions. The

contemporaries

Tyagaraja

(1759-1847),

Muthuswami

Dikshitar, (1776 - 1827) and Syama Sastri, (1762-1827) are regarded as ~ 45 ~

the Trinity of Karnatak music. The quality of Syama Sastri's compositions and the variety of the compositions of Muthuswami Dikshitar, and Tyagaraja's prolific output in composing kritis, induced the post trinity composers to compose in variety. Prominent composers prior to the Trinity of Karnatak music include Annamacharya, Narayana Theertha, Bhadrachala Ramadas, Sadasiva Brahmendra and Oottukkadu Venkata Kavi. Other prominent composers are Swathi Thirunal, Gopalakrishna Bharathi, Neelakanta Sivan, Patnam Subramania Iyer, Mysore Vasudevachar, Koteeswara Iyer, Muthiah Bhagavathar, Subramania Bharathiyar, and Papanasam Sivan. The compositions of these composers are rendered frequently by prominent artists of today. Composers of Karnatak music were often inspired by religious devotion and were usually scholars proficient in one or more of the following languages: Kannada, Sanskrit, Tamil, Malayalam, and Telugu. They usually included a signature, called a Mudra, in their compositions. For example, all songs by Tyagaraja (who composed in Telugu) have the word Tyagaraja in them; all songs by Muthuswami Dikshitar (who composed in Sanskrit) have the words Guruguha in them; songs by Syama Sastri (who composed in Telugu) have the words Syama Krishna in them; and Purandaradasa, who composed in Kannada, used the signature Purandara Vittala. Gopalakrishna Bharathi used the signature Gopalakrishnan and composed in Tamil. Papanasam Sivan (ð£ðï£ê‹ Cõ¡), who has been hailed as the Tamil Tyagaraja of Karnatak music, also composed in Sanskrit, and used the signature ‘Ramadasan’ (ó£ñî£ê¡).

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Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in the Karnatak music repertoire. The performance of the Sanskrit sloka, Tamil viruttam and Telegu padyamu or sisapadya forms are particularly unique. Though these forms consist of lyric-based verses, musicians improvise raga phrases in free rhythm, like an alapana, so both the sound values, and the meaning of the text, guide the musician through elaborate

melodic

improvisations.

Forms

such

as

the

Divya

Prabandham, Tevaram and Ugabhoga are often performed similarly; however, these forms can also have a set of melody and rhythm like the Devaranama, Javali, Padam, Tillana and Thiruppugazh forms. Javalis and Tillanas earnt high popularity among Post-Pallavi items from the 19th Century. We will discuss all the Post-Pallavi items one by one. JAVALI The word Javali is said to have come from the Kannada Word “Javada” which means “Lewd Poetry”. Javali, a musical composition often sung at the closing part of the concert program, is one of the most popular forms of classical music. It is pronounced both as “Javali” and Javadi in Kannada. The Marathi word “Jhawali” means a gesture of eyes in the language of ‘love’. According to the Tamil Lexicon, the origin is traced from the Urudu word ‘Jahali’ or ‘Jhawali’. But this is not confirmed by the Persian or Arabic scholars. In the Telugu language its etymological source may perhaps be traced to the word ‘Java’ meaning speed or ‘Vega’ or quickness, indicating the tempo in which Javalis are usually sung.

~ 47 ~

Whatever may be the etymological derivation of the word, one can safely conclude that this word came into currency during the days of the Maratha kings who ruled Tanjore during the 18th and 19th Centuries. Javalis are supposed to deal with Sringara Rasa in various levels, from the suggestive to the open, known as Gowrava Sringara and Pachi Sringara. Of all the nine Rasas, the most popular rasa in which almost all human beings are knowledgeable is Sringara rasa and dealing with this rasa is enough reason for the popularity of Javalis among all section of the listeners. Apart from the lyrics being readily intelligible, javalis are also couched in catchy tunes, at times even glaringly over looking grammar. Javalis, usually deal with the Nayaka Nayaki bhava according to the convention of the eight categories of Sringara Nayikas described in the Treatises like ‘Rasa Manjari’ by Bhanudatta. Incidentally, in the Seminar on Javalis in the Karnataka Gana Kala Parishad, Bangalore in January, 1979, some speakers referred to Vairagya Javalis where the theme was not in the usual Sringara rasa, but in Vairagyam. Some claim that jaavalis are as delightful, as earnest and as respectable in their exposition of divine love as that of the padams. The main difference between padam and Javali is in its musical structure. It is a strange coincidence that most of the great Karnatak Music compositions are in Telugu language while the area which leads in enlightened patronage of Karnatak Music was Tamil Nadu. Emperor Krishnadevaraya whose mother tongue was Tulu chose to write a renowned literary work in Telugu. In his book titled as “Aamuktha~ 48 ~

malyadha”, he has asserted in the introduction with conviction “Desha Bashalandu Telugu Lessa” (Telugu is the best language in the country). The great Tamil poet Subramaniya Bharathi has praised Telugu in the lines “Sundhara Telunginil Pattisaithu” -

²‰îó

ªî½ƒAQ™

𣆮¬êˆ¶ (let there be good Telugu in songs of music). The Telugu did enjoy a special status as the most musical language and most composers irrespective of what their Mother tongue was, preferred to compose Karnatak Music songs mainly in Telugu, and that language was made use of in most of the Javalis. According to some scholars the structure, the contents and the technique of the Sringara Padams of Annamacharya (14th Century) closely resemble those of a Javali of the modern times. But, it is only from the time of Dharmapuri Subbarayar (which is about the latter half of the 19th Century); Javali began to exist as a definite form, which has continued till today. Its origin, history and growth until Dharmapuri Subbarayar’s times have been one built on rather loosely knit conjectures. Dharmapuri Subbarayar was the most famous Javali composer, and next to him were some names like Thiruppanandal Pattabhirammayya, Tatchur Singrachari, Patnam Subramanya Iyer, and Poochi Srinivasa Iyengar. DHARMAPURI SUBBARAAYA IYYAR A 19th century composer (pre-Trinity), Dharmapuri Subbarayar hailed from Dharmapuri, Tamilnadu, and composed in Telugu. He is the most notable composer of the Jaavali form, of which he is the ~ 49 ~

universally acclaimed master. Most of the music he composed, therefore, dealt with sringaara rasa, or romantic and even erotic love, and all were of the jaavali form. Many of his compositions were composed in the home of Veena Dhanam, whose music he admired, and who learned around 60 javalis from her. It is said that he may have composed the poignant javali “Prana sakudu” (Senjurutti) at her home, grief-stricken at his inability to save her from bankruptcy. Smara sundaranguni (Pharas) was also written out of respect for her. Javalis like Parulanna mata (Kapi), Prana sakudu”(Senjurutti), Vaani pondu (Kaanadaa), Charumati (Kaanadaa), Muttavadura Mohananga

(Saaveri),

Ethanaichonalum

(Saaveri),

Narimani

(Khamas), Adi neepai (Yamuna kalyani), Idi neeku (Begada) and Emandune muddu (Saindhavi) are among his compositions. TIRUPATI VIDYALA NARAYANASWAMY NAIDU Tirupati Narayanaswamy Naidu had his training from his mother, Komalamma in vocal music and later learnt veena from Kalahasti Venkataswamy Raju.A highly versatile personality; he was a vocalist, Vainika, Violinist and Harikatha performer par excellence. He was also a composer of class. His compositions are shining examples of beauty in simplicity and bring out the essence of the raga in a few choice phrases. They were popularized to quite an extent by his nephew and disciple Narasimhalu Naidu. His compositions are musically devotional. His signature is Tirupatipura or Tirupati Venkatesa. The language of his compositions is Telugu.

~ 50 ~

His popular Compositions are Sarievvare (Sahana), Vagaladi (Behag Javali), Ikanaina naa (Puspalatika), Paraakelasaraswati (Natakurunji).It is interesting that a few kritis of his have become popular in other regions too. His repertoire includes Kritis and Javalis.The following two kritis Ikanaina naa (Pushpalatika) and Paraakelasaraswathi (Natakurunji) are rendered frequently by musicians in concerts. TIRUPPANANDAL PATTABHIRAMAYYA (B. 1863) Pattabhiramayya was a native of Tiruppanandal, which in Sanskrit, is known as Talavaneswaram, near Kumbakonam, Tamilnadu. He is also known as Pattabhirama Rao and Pattabhirama Iyer, who have been bilingual, speaking Telugu and Kannada. He was well-versed in both these languages as well as Tamil. He is known for his Javalis, dedicated to the deity in Tatakeswaram, near Kumbakonam in Tamilnadu. The unique feature of his compositions was Madhura bhakti. He has also composed several Javalis dedicated to Maharaja Jayachamarajendra Wodeyar of Mysore. His disciples include musicians like Lalitangi, the mother of M. L. Vasantakumari and Jayammal, the mother of T. Balasaraswati. His javalies are mostly in sringara rasa and they are purely love songs. The languages used in the compositions are Telugu and Kannada. His mudra is Talavanesa. There are also five Javalis with the mudra Ganapureesa.Javalis like Marubari (Khamas), Vanipondu (Kanada) and Muttavaddura (Saveri) are popular in concert repertoire.

~ 51 ~

Nee maatale– Javali – Poorvikalyani – Thirupanandal Pattabhiramayya. Pallavi Nee maatalemaayanura Samil Balkaraa Anupallavi Ememo bodhinchi nannemaara Jesevura Charanam 1)

Chakkani Samivale Chekkili nokki Rava Mukkera nee kichchenani takkulache sokkinchina

2)

Jaalamu Chesi kalasi eli ratnaala Jimikki la Jata pampenana talavana lola ala

Meaning for this Javali: Pallavi – What happened to all those words of yours? Oh! My lover. Anupallavi – With many of your magic words you made me believe you and cheated. Charanam 1 – Like a seasoned lover, you fondled my cheeks saying that you would give me a Diamond nose ring and mesmerising me with your cunning words. Charanam 2 – You played magic upon me and made me surrender to you.Continue your sweet promise to send me a pair of Jewels for my ears.

~ 52 ~

Oh! Talavanalola. The romantic overtures of the heroine in chastening the paramour which usually constitute the lyrics of a Javali are well brought out in the Javali. TACHUR PEDDA SINGARACHARYULU

Singaracharyulu was an Andhra Vaishnava Brahmin and a scholar in Sanskrit, Telugu and Music. Pedda Singracharyulu was an expert violinist and composer of many Kritis, Padas and Javalis (which are all printed in “Gayaka Siddhanjanam” written by him). The compositions of Pedda Singracharyalu are both in Sanskrit and Telugu. “Vani joli inkeiane” (Behag) is one of the famous Javali of Tachchur Singaracharyulu. His contribution to music literature is not only valuable form, but also of preserving the classical compositions of the great musicians and composers of the past like Tyagaraja, Muthuswamy Dikshitar, Syama Sastri, Seshayyangar, Matru Bhutamyya, and Pallavi Gopalayya. There have been composers of Javali in Tamil and Kannada also. The music and lyric of Javalis was so catchy that even the film field did not hesitate to use exactly the same music in some of their songs sung by famous singers of the film field. “Elaradayane” for instance the Javali in Bhairavi has been copied in the film song “Unnai Kandu Mayangadha” – (࡬ù‚ 致 ñòƒè£î) made famous by matinee idol M. K. Thyagaraja Bhagavathar. Even drama artiste did not lack behind and the drama idol S.G. Kittappa has sung a famous song

~ 53 ~

“Gandiban Maithuna” (裇¯ð¡ ¬ñˆ¶ù£) in a tune identical with the Javali “Emadhune Mudhubalamani” in Kapi. The trend did not continue widely because of the needs of film music which were recklessly given to more and more of showiness.

Though majority of the Javalis are in Telugu, some later composers have tried Javalis in other languages also. Javalis like “Mathada Bharadeno” in Kannada language have also figured in many concerts. The music of the Javalis is slightly faster than that of the padams. The love theme – the heroine pining for the beloved – is found in both padams and Javalis. The sringara rasa is elaborate in padams where as Javalis mostly deal with mundane love. The music in javalis is lighter; the language is colloquial with a sprinkling of humour and satire here and there.

The emergence of Javali in the realm of music, follows a pattern of evolution, where mankind reacted more to music, the lighter it was made. Even, Khayal in Hindustani Music has usurped (eclipsed) the pride of place from Dhrupad by its having been made comparatively lighter. Javali was a welcome addition to an age, which was getting tired of the too heavy doses of classical music, which alone was the mainstay of music concerts of that period. A word of caution here when we say light, we do not mean the term light music as it is understood today. The word light music is a dynamic and relative term. What might have been light some decades back might as well fall into classical category today. Even in lightness or heaviness, ~ 54 ~

there are degrees, a good portion of our present day film music Ultra light, if one may say so, the dilution from the classical level being so much as to make it difficult to appear as any music at all. Just any blare of any combination of sounds goes in many a film situation. The limits of lightening the music, was responsible and respectable even in the films some decades back. In fact, some of the well known film songs were filmy translations of well known Tyagaraja songs. Even heavy classical music of Kshetrajna padas got adopted in films of those days, for example, “Mogudochchi Pilichenu”. (Sahana) This padam had been taken in toto in the film ‘Chintamani’ also in Tamil sung by actress K. Ashwathama as “Kandavudan ullam kollai konda kalvaa; Kaarunyane Kamalakkanna” (è‡ì¾ì¡

àœ÷‹

ªè£œ¬÷ ªè£‡ì èœõ£;; 裼‡ò«ù èñô‚è‡í£) What more, in some films and many dramas, Tyagaraja kritis and even those of Harikesanallur Muttaiah Bhagavatar’s were rendered as such: S.G.Kittappa’s versions of famous concert kritis like “Evarani” – (Devamrita Varshini) and “Entarani” (Harikambhoji) can be quoted here. In the film, ‘Bhama Vijayam’ (ð£ñ£ Müò‹) of those days, late Shri. G. N. Balasubramanyam and late Shri. Madirimangalam Natesa Bhavatar has sung Tyagaraja’s “Kotinadulu Dhanushkotilo” in Todi with alapanas and spectacular swarams too. No wonder Javalis, with their welcome lightness were more liberally borrowed by films. ~ 55 ~

Here are few examples: 1.

“Cheli nenetlu sahintune Alavanito varnintune” (Pharaz) “Maravene ennalilume Giridhari unadarule”

| in | Tamil

In the film “Meera” sung by M. S. Subbalakshmi “Elaaraadayane kaamini” (Bhairavi) “Unaikkandu mayangaada pergalundo”....... in Tamil - Sung by M. K. Tyagaraja Bhagavatar in the film ‘Gunalan’ or ‘Ashok Kumar’.

2.

“Emandune muddu balamani Emani Vinavintune oh cheli” (Kapi – Madhyama sruti) “Gandipan maittunaa kalinga narttana Kaattarul mani vadana – govardhana”

] in ] Tamil

- Sung by S.G. Kittappa in Drama. From the examples, it can be seen that the music of the javali has that prime requisite of film music- the catchiness and the immediate arresting appeal even over the galleries. Of course, the films would choose only the more flashy ones among the Javalis. But by the yardstick of today’s film music, even the Javalis are rather heavily classical and Javalis have remained in their right place – the music concerts. It is commonly accepted that classicism and the importance of lyric are balanced in inverse proportion – i.e. more classical a piece, the less ~ 56 ~

the importance of words. In fact, raga alapana – the quintessence of classicism has no lyric at all and at the other extreme, many popular film tunes have very appealing lyrics, but are un-recognizably diluted from the classical from of music. And javalis are happily a via media. While the mathu does play a characteristic part, the dhatu of javalis is not any less classical. It is perhaps because of this, javalis have been put under light classical variety. Perhaps, the most important characteristic of the music of javalis is what would be called ‘the javali lilt’. A lilting effect is created, by employing more of tisra phrases. An example will explain the meaning of tisra phrases occurring in most of the Javalis. “Apaduruku lonaitine” (Khamas) Du ru ku

lo nai ti/ne

3

3 3 2

3 2

Most of the Javalis are in Adi tala, which obviously accommodates this lilt more than the other talas. Perhaps because of this, on a minute observation, the javalis in Rupaka and Misra Chapu talas would sound comparatively less-romantic and more towards serious classical music. Examples: 1.

Ilagunanunda vachchuna

2.

Mariyada Teliyakane

- Surati

3.

Entati Kuluke

- Kalyani

~ 57 ~

- Darbar

‘Entati Kuluke’ gives the heaviness of ‘Etavunara’ or ‘Enduko ni manasu’. But still the javali spirit in such pieces is maintained by lyric, characteristic of this genre. That takes us to an analysis of the lyrics in the javalis. While on the topic of javalis, it is impossible to go without touching padams. It may be correct to say that javalis are lightened versions of padams both in music and lyric. The sahityas of both padams and javalis reveal in Sringara rasa. But in the case of padams, particularly those of Kshetrajna, even when the sahitya goes too erotic (Pachchai Sringaram) sometimes even bordering on obscenity and vulgarity though there is a claim that it is all ‘Antar Bhakti Bahir Sringaram’ as is the case with Jayadeva’s Ashtapadis. Incidentally, even Jayadeva in one of his sloka has called work as padams. The titles ‘Gita Govindam’ and ‘Ashtapadi’ have been given by posterity. In the case of Javalis, one can see that the promiscuity and permissiveness of the erotic theme is in sober limits and the explanation of Antar Bhakti is not claimed and perhaps not necessary too. The Nayaka Nayaki bhava in its mundane aspects alone is dealt with in all javalis. Compared to padams, javalis seem to be lighter ‘Pachchi Sringaram’. Coming to the technicalities in the lyric of javalis, we see that the rule of dvitiyakshara prasam is not strictly followed as in kritis. This might be because of the fact that many javalis are composed with Pallavi and charanas only, skipping the AnuPallavi, like the devotional melodies of Tyagaraja. Of course, there are quite a few Javalis in Pallavi, anuPallavi, Charana structure too, observing the dvitiyakshara prasa rule. ~ 58 ~

Examples: 1.

‘Telise vagalella’

- Bilahari

‘Aliveni nenundaga’ 2.

‘Entati Kuluke’

- Kalyani

‘Pantamu gala’ 3.

‘Mariyaada Tyeliyane’

- Surati

‘Parihaasamu seya’

The bulk of the better known javalis are in Telugu. Though, it is claimed that there are many Javalis in Kannada also, these javalis perhaps remain only in paper and few of them is sung even by artistes whose mother tongue is Kannada. One popular javali in Kannada is ‘Maataada baaradeno’ (Khamas). In Tamil, padams are well known, but no author seems to have deliberately chosen to compose Javalis. But many poets like Suddhananda Bharati, Nammakal Kavignar, Desiga Vinayakam Pillai and other contemporary composers have composed lyrics in the Javali vein. More often than not, their authorship was only for the words and the tunes were set by various musicians, the flow of music being in the Javali style. Example: “Niddiraiyil vandu nenjil idam konda uttaman avan yaradi tozhi” (Jhonpuri)

~ 59 ~

“GˆF¬óJ™ õ‰¶ ªï…C™ Þì‹ ªè£‡ì àˆîñ¡ Üõ¡ ò£ó¯ «î£j” («ü£¡¹K)

Even Subrahmanya Bharati’s songs in the Kannan – Kannamma series can come into the fold of javalis. By this stretch of imagination even some of the ‘Nauka Charitra’ songs of Tyagaraja like ‘Srigarinchukoni’ in Surati and ‘Odanu jaripe’ in Saranga and songs like ‘Chikkavane Ivanu’ of Purandara Dasa are in the javali spirit, though, the dhatu is comparatively heavier. ‘Kaanta tava Pizha jnaan endu seiden’ in Atana and ‘Kinnu seivu yaninaho’ in Kalyani are among well-known songs in Malayalam conforming to javali needs. But, many of these are called padams by many. Even ‘Telisenura’ in Saveri is listed under padams, but the Kalapramanam is more akin to that of Javalis. Another interesting case is ‘Prana sakudu’ in Chenjuritti, which is sung in slow tempo in four kalais. But these are exceptions, the main area of difference between padams and javalis remaining the difference in kala pramanam. There are instances like ‘Kaanta tava’ (Atana), which are sung in single kalai in music concerts and in double kalai in dance performances. There is a characteristic romantic style of language for javalis. This quality is particularly noticeable in Telugu javalis where even the languages of the slums are sometimes used for effect.

Example: “Sarasa Sallapamunaku samayamu kade eme” ‘Eme’ is a word which one may not expect to occur in a kriti. ‘Eme’ is a loose way of addressing a female companion. ~ 60 ~

Another example would be – “Taaru maaru lade vemi bhajaari” Though the music of this Natakuranji javali is very beautiful, it is not sung often because of vocabulary lacking in decorum.There are also hybrid javalis in Manipravalam style, employing even English words like ‘oh my lovely lalana’ is an example. We can even say that, it is not difficult to identify a javali by listening to the words employed even when the listener does not know the language. Ragas handled in Javalis Well known Rakti ragas are employed for javalis whose main purpose is to appeal at first instance. Even among the rakti ragas only, those, which lend themselves to the javali mood, are widely employed. No wonder, javalis in Khamas, Kapi and Behag far out-number those in other ragas and even in these ragas only the flashy side is made use of. For instance, in ‘Sitapate’ and ‘Sujana Jivana’, Tyagaraja has employed only upanga raga like Khamas, while in javalis freely including kakali Nishadam to great effect. In Bilahari again, in ‘Pariddanamichchite’, There is a masculine ruggedness noticeable, while in ‘Telise Vaga’ Bilahari with a javali gait is employed. Instances are not wanting where extreme liberties, disregarding grammatical constraints, are taken in the music of javalis.

~ 61 ~

In ‘Parulanna maata nammavaddu’, the stress upon sadharana gandhara in Kapi is a case in point. Similarly, ‘Apaduruku’ employs many phrases out of Khamas in the charana ‘Vedukalu chudane’. So is the case with the charana of ‘Sarasamulaade’ in Kapi. There is one javali ‘Saaami raadaa yane’ in folk tune the raga of which is not identifiable at all. Some javalis have been attempted in ragas like Darbar and Kedaram where the javali effect is incomplete mainly because of the unyielding nature of the raga in spite of the lyric. Similar is the plight of Javalis in Misra Chapu tala.

Examples: Javalis in Chapu tala

1.

‘Nyayamu Kaadura’ - Ritigaula

2.

‘Charumathi’

- Kanada

3.

‘Idi niku’

- Begada etc.

A good number of javalis have atita eduppu, which is perhaps for the purpose of highlighting the crispness in the start. It is interesting to note that the Atita eduppu is employed mostly when the theme of a javali starts with question.

Examples: 1.

‘Balimiyela’

- Why balimi with him?

2.

‘Elaaradaayane’

- Why is he not coming?

3.

‘Chelinelu’

- How will I bear this? ~ 62 ~

This Atita eduppu has been employed in Misra chapu Javalis also. Examples: 1.

‘Nyaayamu kaadura’

(Ritigaula)

2.

‘Charumathi upachaaramu’ (Kanada)

With very few exceptions, javalis in general are in medium tempo. A few of the javalis like ‘Nimata’ in Purvikalyani, ‘Ipati panikena’ in Khamas are being sung in both Adi and Misra Chapu talas. The place of Javalis in the concert platform: It should be remembered, the concert platform as we understand it now, is of recent origin and the so-called concert Paddhati or Katcheri Pantha is of still later origin. The Katcheri Paddhati has taken shape at the end from a time when commercial usage of music started reigning supreme. It is a very interesting topic on its own but our present topic concerns only a portion of it – the Post-Pallavi items. The promoters of the concert Paddhati have felt like legating the Javalis to the Post-Pallavi end of the concert perhaps because that was the place for the lighter items. Another reason might be that, even as in the case of slokas, the javali for its dramatic impact would need a warmed-up voice, which cannot be expected in the beginning of a concert.

Also, the Sringara oriented javalis were not given the pride of place with our older musicians, who wanted to appear fittingly religious and puritanical. Javalis were also a welcome relief from the serious mood of the elaborate and laborious Ragam-Tanam-Pallavi of those days.

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With the changing times, however, we today need not continue to give javalis the same casual treatment. Concert duration is becoming shorter and shorter, and only a small chunk of listeners remain till the end of the concerts and thus many would miss the Javali lilt, if they were to be sung only at the end.

Javalis are concentrated, easily assimilated musical tablets, which deserve to be heard by the multitude. Musicians today who give more number of concerts than their counterparts of yester years have a necessity to know more number of songs when the audiences are variety conscious. Javalis can help a lot in this situation. They are short, immediately appealing, not compromising too much on classicism and are thus ideally suited to today’s impatient of scope for niraval and kalpana svara also and they can well be sung to great effect in the main, middle portion of the concert. The complete lyric of a famous Javali and Padam with English translation is given to make the general reader conversant with the earthy romanticism in Javalis and Padams. One Javali and a few postpallavi items have been sung by the authoress of this thesis in a Compact Disk for the purpose of familiarising the listeners with the catchiness and romantic appeal of not only the lyric but the music also. Javalis will thus ideally fit in the Post-Pallavi stage of a concert, wherein the artiste is supposed to win over the attention of listeners in a wholesale measure.

~ 64 ~

PADAMS The origin of the word ‘Padam’ (ðî‹) as such is obscure. Padams are used by only a small section of vocalist. The Veena Dhanammal School Padams are most famous in South India and Kshetrajna (16th to 17th Century) is celebrated as the most famous composer of Padams in Telugu though there have been other composers in other languages too including Swathi Thirunal Maharaja in Malayalam. The Veena Dhanam Padam singing is heavily classical and the only members of her family specialised in them. The present popularity of padams in the music field is mostly due to the efforts of Smt. Veena Dhanammal and members of her family. There are also versions of padams from Andhra Pradesh and other regions but with style of singing different from that of Dhanammal’s. But today a state has been reached where connoisseurs of padams cannot tolerate any other version or even the slightest departure from Dhanammal’s way of rendering them. The ladies of the family of one Buchayappa Naidu were reported to have been well versed in singing padams, although not in public. It is in their household that Veena Dhanammal is said to have learnt padams from one Balakrishnadas, a blind musician. It is stated that Balakrishnadas had learnt them from Veena Gauri Ammal but it is not clear as to how he got the versions which came down later in the family of Dhanammal. Veena Dhanammal is said to have begun to give public performance from her 7th year. Inheritance and acquisition alike placed before her the highest standards of purity and excellence and moulded her taste for classical simplicity and elegance, which till the end suffered no loss. She represented the highest classical tradition in Karnatak music. Her achievements in padam singing were revealed by her slow ~ 65 ~

and stately style. She perfected the padams in an easy and graceful manner. She was mature enough to study the exact limits of the oscillations of gamakas, of the subtle nuances in the occurrence of sangatis and the use of phrases and embellishments that contributed to her beautiful rendition. She passed on the same to all members of her family. The

practice

of

singing

padams

continued

with

Veena

Dhanammal’s daughters and grand daughters. She seems to have taught Brinda and Mukta also directly, who have in turn done a great service to our music by their chaste style. They have maintained this great tradition for over four decades by adhering to a staunch view of following the patanthara learnt by them and sung in proper style.

KSHETRAGNA Among the various types of compositions in South Indian Music, the “Padas” occupy the next place to “Kritis”. These padas are songs composed in conformity with the canons of Dramaturgy and are of great utility in the histrionic art. These are appropriately called “Padas”, as they could be sung in union with the timings and other appertainances of the temple dance of the Nautch Girls. The greatest and foremost of the composers of this type of composition is Kshetragna whose compositions are met with in the most familiar and popular name “Kshetragna Padas”. He was an Andhra Trillinga Brahmin. From his boy-hood, he studied his own mother tongue and attained early proficiency. He was initiated with the mantra of Lord Sri Krishna by a Maha Yogi. He worshipped the deity at the ~ 66 ~

shrine of Muvva, near Ganta Sala in the Krishna District. He was asked to repeat the Mantra till he was blessed with the Darsan of the Lord. Accordingly, he did chant the mantra for days together until Lord Krishna gave His darsan and blessed him with the wonderful art of composing Padas, all of which are marked with the name “Muvva Gopala”. He broke out with the pada on the spot. It is also said that, Kshetragna composed 5 padas in five ragas (Pancharatna) with the name “Vijayaraghavanayaka” and without the name of his God Muvva Gopala. A renowned scholar of Telugu and musician as he was, he has enriched the field of Karnatak music by his four thousand and odd padams. But only about thousand are known. He has employed in his compositions beautiful padagarbhas and sweet melodies pregnant with Bhava based on the theme “Nayaka and Nayaki” relationship. The dominating “Rasa” is therefore sringara. The sringara rasas has for its authority in the Lopamudra – Agastya Samvada in Rig Veda. According to the theory inunciated in the Bharata Sastra, every piece of musical composition should confirm to the ruled enjoined for the characteristic of a Kavya and “sringara” is the only appropriate to Kavya, in the absence of which it is insipid. Hence the works of Kshetragna is pre-eminently a true “Kavya”, in the real sense of the term. The “Sringara Theme” is found to be in strict accordance to the famous “Alankara Sastra”. (“Amaruka Satakam”) The prominent feature of the style of Kshetragna is that it fully satisfies the needs of Sangeeta, in all its three aspects- Geeta, Vadya and Nirtya. The “Brihadaranayaka Upanishad” mentions two necessary conditions for music; namely, the sweetness arising form the “Sarira” or good natural voice and that arising from a strict adherence to the rules of ~ 67 ~

Science of music (the Bhashya of Sri Sankaracharya). Kshetragna’s compositions are in the strict adherence to the rules of music compositions and the perfection in melody type is to be had then and there. The padas characterised by their slow and majestic movement (Vilambakala), by which they carry the hearers into a region of pure rhythm and melody. The Ragabhava is teeming in every song with the formation of appealing characterstic blendings. Hence the padas are of great use and importance to South Indian Music. As gems of melodic beauty, they stand unrivalled. The selection of ragas too is most suitable and indispensable in giving its full scope for expression of feelings. Most of the Ragas are Rakthi ragas. The lakshana’s of what are called “Rakthi” ragas as given in Bharata Sastra is this; For example: Kshetragna employs Kambhoji (the finest of the Rakti Ragas), Ananda Bhairavi, Useni and Nadanama Kriya, which are all Rakti Ragas with an unique skill of its own. “The words of these padams, couched in the fine Telugu, are often very beautiful and are full of imagery most poetical, and set to music, equally plaintive and appealing to the senses”. Therefore, they are best suited for “Abhinaya” with their irresistible charm of style and wistful cadence of their tender movements. The composers of Telugu padams, in imitation of Kshetragna also include

Parimalaranga,

Mannaruranga,

Yuvaranga,

Sarangapani,

Settipatnam Seenayya Gadapallivaru, Bollapuramuvaru, Jadapalla-varu, Sobhanagiri Varu, Inukonda Varu, Venangivaru, Malli Karju-nudu, Muvalur Sabhapathi Iyer, Meratur Venkatarama Sastri and others ~ 68 ~

Ghanam Krishnaier, Subbramaier, Muthutandavar, Marimutha Pillai and Kavi Kunjara Bharathi are the prominent composers of padams in Tamil. About 30 padams of Kshetragna and Telugu and Tamil padams of other composers are found in the repertoire of Veena Dhanammal family and there alone. Padam and Kshetragna are Synonymous terms because majority of the famous Padams familiar to South Indian audiences are by Kshetragna who was a devotee of the deity in an insignificant temple in the village very near Kuchipudi with the name “Muvva”. This is the reason why Kshetragna has used the Mudra “Muvva Gopala” in all his Padams. Padams and Javalis often indulge in Pachi Sringara (too openly romantic) and that was perhaps the reason why they were not in popular use with conservative and educated families and only dancing girls and illiterate families patronised them. Kshetragna has done yeoman service to the cause of Karnatak music in his choice of the appropriate raga perfectly suited to the sentiments and emotional atmosphere of the sahitya. Of the ragams employed by Kshetragna, Mohanam, Kalyani, Pantuvarali, Shri, Surutti and Kedaragaula have been used to depict Sambhoga Sringara (love in union). Some of these have been used to depict Vipralamba Sringara (separatation). There are Padams in Tamil also and Ghanam Krishnayyer and Subharamayyar are the well known names for Tamil Padams, because of their indulgence in Sringara Rasa, Padams have been popular in the dance field also.

~ 69 ~

SARANGAPANI As a pada karta, Sarangapani deserved praise and recognition like Kshetragna, whose name has come to be synonymous with Padams. Sarangapani belonged to the 17th Century and lived in karvetina garam in Chittoor district. He was the Vidhadhikari (Minister of Education) in the court of Maharaja Venkata Perumal Raja, who ruled Kaverinagaram. Sarangapani was proficient in Sanskrit as well as Telugu. He had the authority to issue Raja Sasanams (Royal orders). He was a poet and an expert in music and Natya Sastra (incidentally, this reveals the qualification then expected for a Minister of Educaion). He was held in high esteem not only by the ruler and the ruled, but also by contemporary musicians like Govindaswami, the composer of the famous Pada Varna “Inta Aluka” in raga Natakuranji, who also adorned the same court at the time. Like Kshetragna, Sarangapani was also an ardent devotee of Sri Venugopala, the only difference being, if that can be called a difference, the former worshipped Him at Mova, the latter at Karverinagaram. All his compositions bear the venugopala mudra, his “ishtadevata’ of Kaverinagaram, though some have come to be attributed to Kshetragna inadvertently by substitution of the term “Moova Gopala” for “Venugopala”. He has dedicated some padams to Sri Kalyan Venkateswarulu, Chiruthani Chengalvarayudu, Prasanna Venkata Souri and his ruler Maharaha Venkata Perumal Raja. Nearly 200 padams of this composer of which “Mogudochi” (in raga Sahana – Chapu tala) is the best known are available in ancient fibrous paper. A study of these reveals that these padams can be divided ~ 70 ~

into four catagories: (1) Sringara Padams, (2) Desya Padams, (3) Janapada Padams, and (4) Vairahya Padams. While enjoying royal patronage true to the saying ‘rasa bhava parijnanam’, ‘Desa Sthiteshu Chathuri Asesha Bhasha Vignanam’, ‘Kalasa Sastreshu Kausalam’, “Sringara rasa” is predominant in his works of that period. To quote a few in raga Jhanjhuti – Triputa tala “Alukajesi Palukademo, Ye Cheli, Valapumandu Balimo Veladi Vinave Sri Karvetinagara Nilayudine Venugopaludu” O woman, hear me, Venugopala who lives in Karvetinagar is angry and not speaking to me. I wonder which girl’s love-potions power it is! in Ananda Bhairavi – Adi “Rammane E, Menu Vani Sommane kougita Cherchu kommane, Movitene limmane”. O dear, ask Him to come. Tell Him that his body is his own, Ask Him to take me into his embrace, and give me honey from his lips. in Bhairavi – Triputa Also his padams containing the names of ornaments, towns, trees etc. prove his versatile knowledge and genius. Sarangapani also written some humourous padams which contain popular sayings, “His I see male Harinakshi” (Kalyani – Adi), contains the names of some ragas. “Avaluganti matala” (Saveri – Triputa) contains the names of herbs. “Kankanamu Gattinadu” (Gaulipantu – Adi) contains the name of jewels.

~ 71 ~

Sarangapani has composed not only in popular ragas like Anandabhairavi, Kedaragaula, Sankarabharanam, but also in such rare ragas like Saranga, Thodi, and Karnataka Saranga. He has also composed padams to suit Natya, according to Bharata Sastra Lakshana like Kshetragna. He imparted instruction in natya and abhinaya to others like Govindaswami and trained them as performers. It is learnt that he himself used to participate and enact the role of a lady to such perfection that on one occasion the Maharaja and the audiences and his closest friends could not recognises his feminine role. Sarangapani’s padams are not as erotic as many of Kshetrayya’s and are at the most confined to Gauraba sringara. In Andhra even today we can hear songs given below being sung on auspicious occasions. A lullaby in Raga Navaroj: “Lalanuchu vucheru Lalana Limpunanu Srila Chennaalaru Uyyala Panpunanu” And a Mangalam in Raga Bhairavi: Þ‰Fó ó£ñ‚ ó£ñ‚ °, Þýó£ü õóî‚ õóî ‚ ° ñ‰«ó£î£ó‚° ñ£îõ‚ ñ£îõ ‚ ° ï‰îï‰î¬ìò ïõaî «ê£ó‚ «ê£ó ‚ ° è‰î˜ð êî«è£® ² ‰îó‚ ‰îó ‚ ° ªüòñƒè÷‹, Gˆò ² ðñƒè÷‹”. “Indira Ramananuku, Iharaja Varadanuku Mandaroddharanuku Madhavanuku ~ 72 ~

Nandanandanudaiya Navaneetha Choranuku Kandarpa sathakoti Sundaranuku Jaya Mangalam, Nitya Subha mangalam”.

Tamil Padams in detail The concept of madura bhakti or the Talaivan-Talaivi concept is also seen in Tamil works such as Andal's Nachiar Thirumozhi, Divyaprabandam of other Azhwars, Manickavasagar's Thirukkovai, Thiruvasagam and other works which stressed that the path of devotion to Lord and righteous living led on to make one's life worthwhile and ultimately to attain salvation. The characters Talaivan, Talaivi and Tozhi stand respectively for the Iraivan Paramatma, Bhaktan Jivatma and the Guru who leads the Bhakta on to the path of mukti. The seeds of Bhakti margam that was sown by some of the noble souls during the 6th Century A. D. germinated into the Bhakti movement in the succeeding centuries. This originated in the Tamil Desam and spread beyond its boundaries and gave birth to Bhakti isai (devotional music) in various languages in India. Hundreds of literary conventions had been entwined around the theme of divine love, borrowed by poets for expressing the various moods and mental states of their love for the Almighty. From that time, a padam came to denote a musical monologue which resembles a kirtana in structure and propagates the sentiment of love for God through innumerable aspects of Thalaivan -Thalaivi Kaadhal (love).

~ 73 ~

In his book ‘Musical Tradition of Tamil Nadu’, M. Arunachalam clearly states that the father of the particular type of poetry - Tamil Padam, is Muthuthandavar (1525 - 1625 AD). 24 of his padams are available in print and notation. Papavinasa Mudaliar (1650 - 1725) lived just after Muthuthandavar and is popular for his Nindastuti padams. The tradition of Muthuthandavar was followed by Marimutha Pillai (17121787 AD) who was also popular for his Nindastuti style, Kavi Kunjara Bharati (1810-1896 AD) and later by Vaideeswarankoil Subbarama Iyer (latter part of the 19th Century) and Ghanam Krishna Iyer, who lived during King Amarasimha's period (1787-1798) and a host of other Tamil padam composers who emulated their predecessors and their padams. Muthuthandavar and Marimutha Pillai sang in praise of Lord Shiva. Subbarama Iyer and a few others sang on Lord Muruga and some others on various deities and patrons. What was a social art earlier developed into a temple art in the times of the Chola kings who fostered the art by giving liberal grants. Three distinct classes of artists, though from the same family, were responsible for the development of music and dance the dancer called the Thallipendu in the Chola inscription, the Nattuvanar or the dance master, the Melakkarar or the Nadaswara vidwan. The custodians of the two arts - music and dance - in the Sangam period virtually disappeared from the Pandya naadu and were reborn as the Thallipendu and Melakkarar in the Chola Nadu. Thus they evolved themselves into what we now call Melakkarar or Nadaswara vidwans. After this transition in name and form and the place of performance, Tamil Isai has been developing continuously through the centuries down to 20th Century.

~ 74 ~

“The Father of Tamil Padams” Muthuthandavar was born in Sirkazhi, also the birthplace of Thirugnanasambandar, and belonged to the family of musicians described above. He sang in praise of Lord Nataraja, influenced by his study of Thiruvasagam. Thandavar's padams have been popular from the latter half of the 17th Century. He has composed 14 padams addressed by the Thalaivi to the Thalaivan, 6 to the comrade or Thozhar, 3 padams by the Thozhar to the Thalaivi and is a Yesal padam (scolding). There is one more padam which makes a reference to his receiving golden coins from Lord Nataraja on the golden steps leading to the Chitsabhai. Yesal padam is a song imparting the motive of ridicule or parihasam of the deity referring to some of the legends in the puranas. This padam is in Saurashtra raga - Thirumutho Pandalin Keezh. It is not in kirtana form but is couched in four couplets. In each couplet, the lovesick maiden asks a question to her mother in the first part to which her mother replies in the second part. "Oh mother! Who is this person proceeding here under a pearl canopy worshipped by Lord Brahma and other celestials?" Her mother replies: "This is your Lord Nataraja dancing in the perambalam for the Bhaktha doing penance." Muthuthandavar's Yesal padam is probably a unique specimen. Padams are sung in the latter half of concerts as the voice would have become mellow by that time.

Noted composers in Tamil padams: Muthuthandavar Papavinasa Mudaliar Marimutha Pillai Kavi Kunjara Bharathi

~ 75 ~

Madura Kavi Mambazha Kavi Ghanam Krishna Iyer Vasudeva Kavi Rama Bharathi Vaideeswarankoil Subbarama Iyer Rama Kavi Shenbagamannar Sabhapathi Mudaliar Mazhavai Chidambara Bharathi

MUTHUTANDAVAR Considering the number of beautiful songs in Tamil composed by Muthuthandavar, there are not many important landmarks in his life, as in the case of Gopalakrishna Bharathi of Tyagaraja, to mention a few vaggeyajaras. The only major event in his life deals with the divine inspiration he is said to have received as one afflicted with leprosy and discarded by his relatives for his association with a woman in the service of the temple as Sirkazhi. It is of significance to note that Muthuthandavar was born some 350 years ago before the world of Karnatak music was enriched by the music Trinity. But it must also be remembered that Tamil pans were in vogue from earlier times. One significant aspect of Muthuthandavar’s life is that he does not seem to have a musical lineage to explain the brilliance of his compositions. Whatever merit they posses, would appear to be blessed by the divine vision and directive, he is stated to have received when locked up within the precincts of the temple in hunger and disease. ~ 76 ~

That event was the turning point in his life, though worship and godliness were a part of the daily routine of many in those days. His musical instincts, perhaps, drew him closer to the women engaged in the temple for service and Thandavar, as he was then called, spent the best part of his day listening to Sivanama Kirtanas sung by that woman. This no doubt invited the hostility of his relatives to such an extent as to excommunicate him as it were, and drive him into the arms of privation. One such day, with gnawing hunger on one side and the growing disease on the other, he lost himself in worship at the temple for long, seated in a corner. The authorities not noticing his presence inside locked the temple for the night. His pinching hunger shook him from his trance and finding himself locked inside, he raised his hands in appeal to the one and only benefactor to all those neglected by his fellowmen. The Goddess of the temple it is said, in the guise of the ten year old daughter of the temple with a food in her hand, appearing before him, asked him why he looked despondent. He told her of his relatives neglect, his own afflicition and his hunger. She served him food from the bowl, and emboldened, he asked the girl what could cure his disease. Her directive to go to Thillaiyampathi and worship the Cosmic Dancer through music, raised doubts in him about his capacity to sing or compose. But, he was assured that Sri Nataraja would bless him if he started singing with the first word that he heard from those worshiping the Lord and the girl disappeared. He then realised that the girl he had spoken to was none other than the Divine Mother. Since that day he came to be called Muthuthandavar. That vision and spiritual drove him to Thillai. He worshiped Sri Nataraja with deep devotion sharpening his ears for the first few words ~ 77 ~

uttered by the devotees. “Bhooloka Lailasagiri Chidam-baram” struck his ears as he stood worshiping the deity and as per the directive of the Divine Mother in the disguise of the ten year-old priest’s daughter, he burst in the song “Bhooloka Kailasagiri Chidambaramallaar Bhuvanathil Verum Undo” – Ì«ô£è

¬èô£êAK

Cî‹ðóñ™ô£˜

¹õùˆF™ «õÁ‹ à‡«ì£ (Bhavapriya, Misra Jampa Tala). There was no doubt in his mind then that he was divine-blessed, for how else could he have all of a sudden, attained the competence to compose a song. As soon as he finished the song he found five gold coins before him and Muthuthandavar, overwhelmed with joy, felt that it was part of Sri Nataraja’s grace. Gradually he was also cured of the disease. Song after song in praise of Koothapiran flowed from his great, with deity, strangely, not a single word was uttered by any of the devotees present. He was perplexed. Hitherto he had been inspired by the first words of a worshiper and that was divine command. What was he to do when none spoke a word? He thought and outcome a song beginning with “Pesade Nenjame” - «ðê£«î ªï…ê«ñ (In Suryakantam ragas Misra Jampa tala), reflecting the mood of the devotees which he took for the uttering’s of the first word. On another day, when he was on his way to Chidambaram from Sirkazhi, there was flood in the river Coleroon. He then sang the famous song “Kannaamal Veenile Kaalam Kazhitthome” - è‡í‹ñ£œ iQ«ô è£ô‹ èNˆ«î£«ñ (in Kambhoji). Gradually, the flood subsided enabling him to cross the river, when he burst into another piece, “Darisanam Seivene” - îKêù‹ ªêŒ«õ«ù(Vasanta, Adi tala) and on actually worshiping the deity he

~ 78 ~

sang another piece, “Kandapin Kan Kulirnden”

-

è‡ìH¡

°O˜‰«î¡. Another of his famous song “Arumarudoru Tani Marundidu Ambalathil Kandene” - ܼñ¼‰ªî£¼ îQ ñ¼‰F¶ Ü‹ðôˆF™ 臫ì«ù (Kamboji, Rupaka Tala) is reported to have been composed when he was bitten by a snake. From the day he came out of the temple fed by the Divine Mother, he lost himself in the enjoyment of the beauty, grace, benefaction of the Sosmic Dancer and all his experience took shape in the form of songs, which to-day, from part of concerts of Vidwans. His ideal of existence is exemplified in his last song “Maanikka Vachagar perenakku Tharavallayo Ariyen” - ñ£E‚è õ£êè˜ «ðªóù‚° îóõ™ô£«ò£ ÜP«ò¡ (Kokilapriya, Rupaka Tala). He died on Avani Thingal Pusa day. Some 60 songs and 25 padas composed by Muthuthandavar have been published. “Teruvil Varano” - (ªî¼M™ õ£ó£«ù£), the Khamas raga padam set to Rupaka Tala, is one of his famous compositions. The beauty of his compositions lies in the simplicity of diction and a direct expression of ecstatic experience. Even as there is a complaint that as some of Tyagaraja’s songs have been changed the raga and pataantara stance, the famous piece, “Sevikka Vendum Ayya” – («êM‚è «õ‡´‹ ÜŒò£) familiar in the raga Andolika is rendered by some in Abhogi. Similarly the song “Ambara Chidam-baram” – (Ü‹ðó Cî‹ðó‹) is handled by some in Surati and by a few others in Rishabapriya “Kaanammal Veenile” - (è‡í‹ñ£œ iQ«ô) again is sung by many in Kambhoji and one book gives the raga for the Kirtana as Dhanyasi. In spite of the different versions, which is only to be expected of songs not written down at the time composing, they are rich in their ~ 79 ~

devotional content and musical excellence lending themselves to the demands of platform artists.

MARIMUTHA PILLAI Marimutha Pillai was one of the great Tamil composers of the 18th century and was a contemporary of Arunachala Kavi. He was the son of Theivangal Perumal Pillai, a Saiva Vellala, who lived a simple life at Thillai Vidanagam, a village situated to the north-east of Chidambaram. Marimutha Pillai was brought up in an atmosphere of piety and devotion from his childhood. He was initiated into the sacred lore and his daily rituals consisted in offering prayers to Tillai Nataraja, through his songs. Thus, the gift of composing songs in Tamil came as a great boon to this young devotee. Marimutha pillai had an early marriage and was blessed with three sons. The eldest son who was also named Theivangal Perumal Pillai and the youngest son, Kumaraswami, were great scholars in Tamil. Even at the age of 19, this Theivangal Perumal Pillai began to compose songs. He used to offer his daily prayers to Umayammai at Chidambaram. In a few months, he brought out a prabandha of songs called “Umayaval Malai” – (àñòõœ ñ£¬ô). He was so deeply immersed in bhakti that he stood aloof from all worldly pleasures. In due course, he left his house.Marimutha Pillai was very much worried over his eldest son’s behaviour he prayed to Tillai Nataraja to cure his son of his malady. One day, after his night prayers, he had a nap on the verandah of the temple. He had a dream in which Sri Nataraja appeared before him and said that his son would come to senses if he would compose a prabandha in praise ~ 80 ~

of Thillaiyampathi. He woke up from his dream and decided to carry out the divine command. After his morning anushtanams, he hurried to the temple, prayed devoutly and composed and completed the “Puliyur Venba” – (¹LΘ ªõ‡ð£). On completion of this prabandha, he found to his great surprise that his son was miraculously cured of his aberration. This incident is referred to in one of his compositions wherein are found the following lines: ‘Iyan sabai nadan anabi pulisai venba Sei yenru inidhu uraikka cheppinen-mei yenru Pattil Pilai irundal parthu periyorgal Katti thirutha kadan’ ‘ÜŒò¡ ê¬ð ï£î¡ Ü¡¬ð ¹LªêŒ ªõ‡ð£ ªêŒ â¡Á ÞQ¶ à¬ó‚è à¬ó‚è ªêŠH«ù¡ªêŠH«ù¡ - ªñŒ â¡Á 𣆮™ H¬ö Þ¼‰î£™ 𣘈¶ ªðK«ò£˜èœ 裆® F¼ˆî èì¡’ Very soon his scholarship came to be appreciated by everyone and his songs were popularised by people who began to sing them during their daily worship. This encouraged him to compose many more prabandhas. Special mention may be made of his brilliant works such as “Cidambaresvar Virali Vidu Thuthu”, “Varunapuri Aadimulesar Kuravanji”, “Aadimulesar Natakam”, “Anedhi Natakam”, “Puliyor ~ 81 ~

Sringaravelar Padikam”, “Radha Bandham”, “Raga Bandham”, and different kinds of varnas. He also composed 50 songs in praise of “Sri Nataraja”. Besides these he composed several stray pieces. Among the 50 kirtanas and other bhakti rasa, only 25 are available. He passed away in 1787 April. His compositions are in good Tamil, filled with devotion. Some of them are in the Nindastuti style. In the phrases “Vidum Ambalamgi nirum Andhara manir” he uses Andal bhakti and bahir sarcasm. In the following phrases: ‘umaipol attai eduthu ambalathil nirppar Oruvaraiyum kaanen ayya’ ‘enneramum oru kaalai thookkikondu Irukkira vagai edayya’ ‘Ambalathadal nadippadenbathai ummidathil arithenayya’ ‘à¬ñŠ«ð£™ à¬ñŠ«ð£™ ܬî Ü‹ðôˆF™ GŸð£˜ å¼õ¬ó»‹ è£«í¡ ÜŒò£’ ‘≫ïóº‹ å¼ è£¬ô É‚ É‚ A ‚ ªè£‡´ Þ¼‚ Þ¼‚ Aø õ¬è ã¬îò£’ ‘Ü‹ðôˆî£ì™ ﮊªð¡ð¬î à‹IìˆF™ ÜP‰«îùŒò£’ It is seen that anyone who is an ardent devotee of the Lord and who is also a composer, can take such liberties with his ‘Ishta Devata”. ~ 82 ~

The songs of Marimutha Pillai are long and are tacked with many charanams, every charana presenting a new idea. It is because of this that the same tune is adopted for every charana of his songs and no boredom is experienced. The rules of musical prosody are aptly and suitably adopted and in every song the Kshetra mudra “Tillai” is used, consistent with the desire of the Lord that a prabandha in praise of Chidambaram should be composed. Words descriptive of the tall gopurams of Chidambaram temple are used. Thillai is given various other names such as “Then Kailasam”, “Ponnambalam”, “Natesar vazhum Pundarikapuram”, “Bhuloka Kailasam” and “Puliyor”. In one of the popular songs “Orukkal siva Chidambaram”, in Arabhi raga Aditala Marimutha Pillai emphasis that in to get salvation and be free from Bhavabhandam, it is

enough if one utters Siva

Chidambaram once. In the song “Kaalai Thookki Ninraadum Theivame”, set in Yadukulakambhoji raga adi tala, celestial beings like Nandi and Narada are associated with musical instruments like the yazh and the maddalam. The Surutti raga song “Edukku ithanai modi than unakku endan melayya” set in Rupaka tala, the author appeals to Sri Nataraja that he should not be accused of using only two, and run sarcastic language. In the charanas, which are more than two, and run about eight avatars, several interrogations in the nindastuti style are used. The following sentences in his songs “Pallaikkatti Muppurathar munnae ninrathu”, “Pennaipidi Yudambagi”, “Kuravar vittil punnkondathu” and “Prambadi pattathu” relate to stories from Siva Purana.

~ 83 ~

In the song “Pala Mandirathirkkum Palamandiram, Ponnambala Mandiram Ennum Mandirame” the sahitya figures of yamakam or madaakku is illustrated where in one and the same similar sounding phrase gives an altogether different meaning. The phrase “mandiram” is used as antyaprasa throughout the song at the end of reach avarta. The songs, which treat for antar bhakti expressed in sarcastic language, are profusely used in dance music for portraying abhinaya, especially at the far end of the dance performance. The songs of Marimutha Pillai, thus may be compared in their bhakti rasa with the padas of Purandaradasa in Kannada.

KAVIKUNJARA BHARATHI The famous author of the “Skandapurana Keertanas” (vè‰î ¹ó£í W˜ˆî¬ùèœ) flourished in the beginning of the 19th Century. He was born in Perunkarai a village in the Ramnad District, in the month of October 1810 and his father was one Subramanya Bharathi. His ancestors learned in Vedas and Sastras came from the Tirunelveli District, two Centureis ago and settled in the village Perunkarai which was given as gift to them by the then Raja of Ramnad, Hiranya Garbha Thirumalai Setupati. His father, a scholar in Sanskrit and Tamil, gave his son early education in both the languages and by the time when our young Bharathi was 12, he attained skill in composing poetry and also possessed a fair knowledge of music. He also came into close contact with Madura Kavi Bharathi, a well known composer of ‘Pada Sahitya’ ~ 84 ~

who showing him a parental affection taught him music. While yet in his teens he began to compose Padas and Keertanas which he also sang beautifully. But he utilised this divine gift in composing songs verses and prabandams in the praise of his household deities “Lord Subramanya” and “Sri Meenakshi Sundareswara” instead of flattering mortals for the sake of earning wealth. This was quite befitting his sincere devotion and saintliness. He also held occasional Bhajanas and festivals in his house and feasted the audience with his melodious and devotional music. His compositions became very popular and the Raja of Sivaganga by name Gowri Vallaba invited him and honoured him with the title “Kavi Kunjaram” (èM °…êó‹) in admiration of his talents in poesy and music. At one time, the Maharaja went on a hunting expedition and bravely killed a tiger which was 16 ft length and Bharathi in commemoration of the brave act composed “Vengai Kummi” («õƒ¬è °‹I) and a village called “Kottakkachi Yendal” (ªè£†ì‚è„C «ò‰î™) was made over him as a gift. Thinking of composing the “Skanda Purana” in Keertana from, he went to his native to engage in his work in peace and seclusion. He began the work in the year 1865 and finished the same in 5 years. After finishing the work, his devotion strengthened and his mind earned after salvation. So he did not like once again to taste the pleasures of court life. So he lived a life of self contentment and sincere devotion, spending his time in worships, bhajana, aradhana and religious discourses. His nephew and Son-in-law, by name Atma Nada Bhagavatar of Aludayar Koil, was a sangita Vidwan and he did great service in popularising the Keertanas in South India. Besides the “Skandapurana ~ 85 ~

Keertanas”, Bharathi has composed many Padas and Prabandams which unlike those of his predecessors were highly lyrical in style. They are (1) Azhagar Kuravanji, (2) Rajanagar Pal, (3) Perinba Keertanas and Padas. Though his compositions exhibit the features of Arunachala Kavirayar’s yet they strike the hearers with a fresh vigour, elegancy and individual melody. In fact , Arunachala Kavirayar’s and Gopalakrishna Bharathi’s compositions deserve to be classes in Tamil lyrical literature for they are composed in chaste, flawless, simple Tamil but vehement in sense and set to music of a high order. In his padas, the best of his, one can easily recognise his scholarship in Tamil and Sanskrit and proficiency in music chastened by his deep rooted piety, the ‘rasas’ or sentiments are beautifully displayed by him. Really, his padas equal in greatness like the padas of Kshetragna. The ragas employed by him are all familiar ones, except those Apoorva ragas like Navaroz, Kannada, Yamuna Kalyani, Hamir Kalyani, Bangala, Manji and Gowlipantu. The talas are mostly the common ones. His works have been published by his grandson Sri. Kotiswara Iyer, a living composer, poet and musician.

MAZHAVAI CHIDAMBARA BHARATI Mazhavaryanendal also known as Mazhavai and Bhuvaneka Pandiapuram is a small village in Ramnad district, about a mile distant from Triuppachetti, a station on the Madura-Manamadura line. The ~ 86 ~

village is situated on the western bank of the Vaigai River and on the opposite eastern side is Vembathur, the birth place of “Sledaipuli Pichu Iyer” noted Tamil scholar and poet. Mazhavai Chidambara Bharathi, popularly known as Chinnaswamy Bharathi was the second of four brothers. His elder brother Mazhavai Subbarama Iyer was a Sal avadhani who gave a performance before the Raja of Pudukkotai, Ramachandra Tondaiman and was amply rewarded with presents and honours. Chidambara Bharathi was a Contemporary of Kavikunjara Bharathi, another famous composer who has given us “Kandapurana Kirthanangal”. Chidambara Bharathi’s compositions include individual pieces in praise of various deities, collected is one volume, called “Perinba Keerthanaigal” on puranic themes such as Rukmini Kalyanam, Druva Charitram, Kuchela Upakyanam, Ambarisha Charitram, etc. His major works is “Periya Purana Keerthanai” dealing with the life stories of the Nayanmars. Only a portion of the work was published by Ramanna and the other portion is still in manuscript form. He has given us two “Kummies”, one Madurai Meenakshi and other of the Brihadambal of Tirugokaranam (Pudukkottai) and quite number of Jawalis and Padams, one of which “Nanaenevinen” has been widely known by the gramophone record by S.G. Kittappa, who chose this piece for its swinging lilt, jingling words and a fine tempo, which came out well with his gifted voice. Purana Charitrams and Peria Puranam are done in the manner suited for Harikatha Kalakshepem. The author has strewn here and there ~ 87 ~

a lot of musical forms introduced by the Thanjavur Marathe School like Sakti, Dendee, Arya and Abang. Some of his well known compositions are “Karunai Thantennai Alamma” (輬í

ù

Ý÷‹ñ£) in Begada, “Karunai

Purindu Rakshikanam” (è¼¬í ¹K‰¶ ó†V‚èù‹) in Kapi, “Ma Mayura Meedil Eari Va” (ñ£ ñÎó eF™ ãK õ£) in Bilahari, “Mangala Subavarade”(ñƒèô

²ðõó«î),

“Ezhundal

Paradevi”

(⿉

ðó«îM) in Kamboji, and “Sri Vadarba Nagaravasi” (ÿ

õî˜ð

ïèóõ£C) in Poorvi Kalyani. Among the Nayanmar Charitrams, that of Somayaji is outstanding. His capacity for using panns and his manner of bringing out any number of meanings out of a single word are clearly demonstrated in that work. Siva appears as untouchable before Somayaji and others performing Somayaga, humming a temmangu “Thannane Thannane Thandam Thanana”. But of the simple words common to an ordinary villager, he could bring out symbolic and philosophic meanings. Than Nane (I am self); Thanane (give me it no other but me); Than Arru (when self ceases to exit); Than Nattu (it is that which we seek and desire) and so on. These interpretations are natural and are not brought out by any violent splitting of words simply for sake of getting new meanings. He shines best in his “Kummies” (°‹Ièœ). All possible types of metres to facilitate a good variety of movements are handled with ease. These Kummies are a class by themselves and outstanding in that genre.

~ 88 ~

GHANAM KRISHNA IYER Ghanam Krishna Iyer, the famous singer of Madhyama Kala and the greatest composer of Tamil Padas (îI› ðîƒèœ), was one of those great Sangita Vidwans who by dint of their own endeavour attained everlasting fame. As he came to possess an unrivalled skill in the “Ghana” method of singing, he was honoured with the title “Ghanam”. There were only a few persons, in his time in South India who were acquainted with that “Ghana Marga”. It was “Ghanam” (èí‹) Krishnaiyer who attained perfect mastery in that method by virtue of his unflinching practice. Krishnaiyer hailed from a place called Peria Thirukkunram, in the taluk of Udyarpalayam, Trichy District. He was a smartha Brahmin of the “Ashtasahasram” sect. His father was Ramaswamy Iyer who was, by heredity, a scholar in music and Tamil and was patronised by Muthiah Moopanar of Kapisthalam on whom he has composed many Keertanas. There was one great man, Sri Ramadass who was the State Vidwan under Amarasimha and well versed in Hindustani music. He was the first guru of Gopala Krishna Bharathi, the illustrious author of the “Nandanar Charitram” (ï‰îù£˜ êKˆó‹). When Ghanam Krishnaiyer was staying at Tiruvidaimarudur, Bharathi was learning Hindustani music under Ramadass. Bharathi also seems to have learnt many carnatic tunes from Ghanam Krishnaiyer. Many songs have been sung in praise of Amarasimha by Krishnaiyer. There are also many devotional ones on Sri Mahalinga moorthi the presiding deity at Madhajarjunam and one of them is “Maruthappa” – (ñ¼îŠð£) in Ananda Bhairavi Raga, which is similar in tune to “Murugaiyane Pannirukaiyane” –

~ 89 ~

(º¼¬èò«ù ð‡E¼¬èò«ù) by his brother Subbarama Iyer and “Iyaramiga Oiyara” – (Þòø£Iè åŒò£ó£) by Anayya brothers. Many of the rich landlords and relatives of Krishnaiyer invited him to their native places as Kumbakonam, Udayalur, Tirupazhanam, Tiruvarur, Swamimalai, Mannargudi, Trichy Srirangam etc., on these occasions, he sang several kritis and padas on the deities of those places and many on his well wishers and patrons. He has also sung many Keertanas on his “Ishta Devata” Subramanya among which “Velare Ummaithedi” («õô«ó à‹¬ñˆ«î®) in Bhairavi in popular one. Thus during his travels, his great abilities in ‘Sangita and Sahitya’ won for him a wide-spread fame. Musicians and other people began to realise the real merit of the “Ghanam” style. Some of them at first due jealously began to speak of his music as mere noise. But when they heard him face to face, they were thoroughly convinced of his real greatness and began to admire him ardently. Ghanam Krishnaiyer’s life is a notable one, as it is wholly made up of interesting musical anecdotes and experiences which have come down to us. It was through him that the ‘Ghana’ method of singing attained popularity in South India which is indebted to him for his splendid compositions in that new style. As such, he is given a prominent place among the musician composers of South India. His compositions are all replete with Ragabhava and will be remembered by posterity forever. The themes of most of his Kritis are based on “Sringara” bhava. Inspite of the grammatical errors in the language of his keertanas, they are unique for their musical excellence. It is but proper that measures should be taken for the popularisation of his compositions, especially, when there is a general outcry for the revival ~ 90 ~

of Tamil compositions which are to be given predominance in the musical concerts. The keertanas that are familiar are “Parengum Paartalum” (ð£ªóƒ°‹

𣘈‹) in raga Kayani, “Parimala Natha” (ðKñ÷

ï£î£) in raga Darbar, and “Summa suma sugam” in raga Atana. The Bhairavi Piece “Jagatjanani Sukhapani” (üèˆüùm ²èð£Q) is now popular in a different mould.

PADAMS – in dance concerts: PADAM - a broad spaced item in dance concert for the complete exhibition of dancer's depth of interpretation of abhinaya and his/her maturity in dance. Padam bestows aesthetic pleasure on the listener with good exposition of melodic structure of raga finely blended with verbal structures of lyrics. More often episodes are woven round the mythological God Krishna (other deities not excluded), on human kings to please whom the lyrics has been composed. Padams set in Vilambita Laya (slow tempo) accordingly where dancers render padams which excel in its purpose. Aspects to be remembered during padam performance are: 1. Kavyartha

- idea conveyed by composition entirely.

2. Vakyartha

- meaning of each line.

3. Padartha

- meaning of each word.

~ 91 ~

Most of the padams have been composed in “Vipralamba Sringara” (separation of love) as the rasanubhava is more than in “Samboga Sringara” (union of love). "Na Vina Vipralambena Sringaraha Pushtim Ashnute" means without separation the romantic sentiment does not develop. That is how most of Kshetrayya padams are in sringara rasa and he is well called the Sringara Kavi. Padams of Kshetragna occupy the top place in this genre. Apart from less known Telugu composers, there have been some in Tamil too. Doyens like Maharajapuram Vishvanatha Iyer was known for captivating rendering of Tamil Padams like “Paarengum Paarthaalum” in Raga Kalyani. Because of their heavy classicism in its music, Padams should normally be not allotted the Post-Pallavi status. But the lyrics of the Padams are so openly romantic and that is perhaps the reason why they have been classed Post-Pallavi items. Example: Vadiga Gopaluni – Mohanam – Adi

Pallavi Vadiga Gopaluni Vaddha Jeramani Prayamela Vacchena Vanuguthsuna

Anupallavi Pada kinnti Kika Povalene Nannu Vadhdha Vedu dhalachi Verachene ~ 92 ~

Charanam - 1 Patta Pagalu Onnti Padina Samayamuna Paitalo cheyi Vesenee Etuloorthu nani Kettida Kemmovi Engili chesene Nijamugaane

Charanam - 2 Aadadha Nanu Natho Aadaraani Maatalaadi Navva Konene Yedaadigaa Nannu Veedi Ecchaka Mada Emeemo Chesene Mudamutona

Charanam - 3 Kaliki Gopaludu Karamulu Battuga Varuva Ippi Vesene Cheliya Rathiri Vadu Chesina Ratsalu Jeppa Siggaiyane Nijamugaane Meaning of this Padam: I am of that vulnerable age to crave for nearness of that Gopala though; I am hesitant in wording out my emotions. I am afraid of going to the bed room because of severe experience that I had last night. In broad day light, when I was alone at ~ 93 ~

home he places his hands up on my upper cloth what all he did to me last night is a over thrilling experience which, I am afraid of speaking about.

TILLANAS “Veena Venu Mrudanga” is a Sanskrit term finding a place among ancient literatures. This confirms the antiquity of mrudanga on par with veena and flute. Mrudanga is a percussion instrument supposed to enhance vocal or instrumental music by enhancing rhythmic appeal. The rhythmic or solfas of mrudangam can be orally pronounced with some effect of their own. The Tillanas are supposed to exploit this situation by employing mrudangam solfas in catching musical phrases. Tillana is one of the short, crisp and liveliest musical forms, which had its birth in the 18th Century. This form became popular because of its brisk and attractive music. This form has the sections Pallavi, Anupallavi and Charana and each section has different dhatus. Usually, the Pallavi and Anupallavi consist of jatis only and charana contains, in addition to jatis, sahitya and solfa syllables of percussive passages. Maha Vaidyanatha Iyer is said to have composed a Tillana in Simhanandana tala in Kanada raga and that the entire composition is in two avartas only, the first and second avarta containing words and jatis respectively. The language chosen in many of the Tillanas is Sanskrit, Telugu or Tamil. Tillanas with their sparkle of Mrudangam solfas have their own appeal with all levels of listeners and the earliest names of Tillana composers have been Patnam Subramaniya Iyer, Poochi Srinivasa Iyenger, Veena Sheshanna and Harikeshanallur Muthaiah Bhagavatar. Tillanas have attained a new high status from the middle of 20th Century ~ 94 ~

with inevitable composers like Padmabhushan Lalgudi Jayaraman and Padma Vibhushan Balamuralikrishna. Tillanas of their style are inspiring many other new entrances in the field and Tillanas have found entry into the film music also making their future assured. Tillanas are compositions with Pallavi-Anupallavi-Charanam structure employing the Mrudangam solfas for major part and literary Sahityam only in parts of the Charana. Perhaps because of the minimum usage of the Sahityam, this alone can raise the classical seriousness of any composition. Tillanas have been relegated to the Post-Pallavi part of the concert. But Tillanas have always enjoyed some patronage or other and they can be said to have attained a new high status in the Tillanas of Padma Bhushan Lalgudi Shri Jayaraman. His Tillanas have for the first time reached unprecedented heights of intelligence in combining laya nuances of very high order with lilting music. These Tillanas have made all Tillanas of previous generation sound pedestrian. There have been request to some vocalist from the audience for rendering of two Tillanas of Lalgudi Jayaraman in one and the same concert. Padma Vibhushan M. Balamuralikrishna, whose compositions are avidly learnt by vocalist and eagerly asked for by audiences, Lalgudi Jayaraman has shown the world that wonders can be worked with Tillanas and bright future for this prominent Post-Pallavi item is assured. Tillanas are popular in dance concerts also and their future is thus brightened further. One Tillana which has become popular in recent times is ‘Gita dhurniki taka’ (Dhanasri raga) in Hindi by Svati Tirunal. Some of the well-known composers of Tillanas are Patnam Subramanya Iyer, Puchchi Srinivasa Iyengar, Veena Seshanna, Ponnaiah Pillai and ~ 95 ~

Muttaiah Bhagavatar. Ponnaiah Pillai and his illustrious brothers have also composed great Tillanas meant for dance concerts. These senior composers chose rich Ghana ragas like Sankarabharanam, Todi etc., or traditional rakti ragas like Chenjurutti, Pharaj, Kanada, and Mohanam etc. In spite of such ragas the Tillanas were and are always sung only in the latter part of the concerts, be it music or dance. The reason might be that the predominance given to sollukattus in Tillana has made it less serious than a kriti where the lyric could contribute as much as the music for the classical weight of the piece. Also, the scopes for sangatis with a classical tint are more natural in a kriti where some of the sangatis can even be lyric-oriented. This does not mean that the kritis have no sollukattus at all. There are indeed great Dikshitar kritis like ‘Ananda Natana’ -Ýù‰î ïìù‹ (Kedaram) ‘Sri Maha Ganapati’ – ÿ

ñý£

èíðF (Goula) with sollukottus in

addition to Chittasvarams. But the sollukattu portion of it is minor. Nor it is correct to say that Tillanas do not accommodate sangatis. Some of the well known Tillanas like ‘Dirana tana dhimta’ (Chenjuruti), ‘Nadru dhim dhim’ (Sankarabharanam) have a good number of effective sangatis but in the Pallavi. The kritis, particularly Tyagaraja’s style, can accommo-date sangatis in any part of the composition. Some scholars say that Tillanas are common to music and dance concerts. Some even say it is mainly a dance item. These views need some examination and clarification. It is true that Tillanas find a very important part in the dance concert and they are popular in the music concerts also. But invariably these two Tillanas are not identical and very few Tillanas find a place in both the concerts. Even in such tillanas, the ganakrama or the method of rendering is not one and the same. The ~ 96 ~

first line and some of the other lines are usually repeated many number of times, not necessarily with as many sangatis, in a dance concert. This is necessitated for the purpose of interpreting the rhythmic structure of each line of the Tillanas in various varieties of footwork – dance sangatis as it were – and other manifestations of the dance. But in a music concert, no single line is repeated more than twice unless there are sangatis. Tillanas are compositions of comparatively recent origin. Some of the modern composers have incorporated a lot of sophistication to this genre. Lalgudi Shri Jayaraman has given Tillanas an enhanced status, improving over the earlier composers in all aspects. Particularly, the rhythmic structures of Lalgudi’s Tillanas are arithmetically of a near perfect finish almost every time. Also, the widely prevalent diverse between technical exercises and melodic beauty has found solace and solution in such Tillanas where highly intelligent and complex varieties of rhythmic patterns are couched in lilting music and it would call for a very highly accomplished musician to render these Tillanas to full justice. Another greatness of these tillanas is that they are able to arrest the attention of all types of listeners alike even when played on the violin, of course at their best only by the composer himself. Many of the aspects of talas, which are mentioned in books but are very rarely put into practice like Srotovaha Yati, Gopuchcha Yati and such other embellishments are found splashed in the Tillanas of the earlier generation look and sound rather tame and pedestrian. Examples of Gopuchcha yati pattern found in Lalgudi Jayaraman’s tillanas: ~ 97 ~

1.

“Taka dhimta dhim” – Desh raga – Adi Tala Taka Tarikita Jham

2.

rmrpmgr

Tarikata jham

rmpns

Kita jham

ndp

“Dhim tana Dhim Tajanuta” – Behag raga Taka diku tari kita jham

Dhim ta Dhim

Taka tari kita jham

Dhim ta Dhim

Tari kita jham

Dhim ta

Examples of Srotovaha yati found in the Tillana of Lalgudi Jayaraman: “Taka dhim tadhim” – Desh Raga Taka janu taka dhim Kita taka janu taka dhim Tari kita taka janu taka (Taka dhimta)

Only a practical demonstration can give examples of all the rhythmic and other beauties enshrined in these Tillanas and any amount of writing cannot adequately express and same. Another great achievement of Lalgudi Jayaraman is that many of his Tillanas are in comparatively less handled Desi ragas like Dvijavanti, Brindavanai, Desh, Bagesri, Mohana Kalyani etc. A special mention must be made of a Tillana in Pahadi raga, which would leave a maestro among ~ 98 ~

Hindustani musicians baffled and humbled. Not all composers are resourceful enough to compose so richly that too a Tillana, in those ragas. Another composer of Tillanas of unusually high calibre of today is Dr. M. Balamuralikrishna whose compositions have had notable impact among the learners and listeners. Many, however, opine that these Tillanas, though sparkling and spectacular with virtuosity are not on solid enough classical base. Whatever the old timers may say, the fact remains that these two modern composers have raised Tillanas to a higher pedestal and they will remain unsurpassed for a long time to come. The appeal of these Tillanas with the listeners is so intense that the audience often demanded more than one Tillana to be sung in a concert, a happening unheard of and unbelievable in yester years. Even the Gramophone companies have come forward to release long playing disc records of Tillanas only. A remarkable achievement indeed!

It is claimed that the Tarana is the counterpart of Tillana. Here too, the similarities are only on a limited range. Both the Tillana and Tarana employ the sollukattus of the Mridangam and Tabla respectively. But as in many other aspects here too Karnatak music is on a much more solid ground and the Taranas have a long way to go before gaining the fullness and wholeness as a composition as such. Example: Tillana- Ragesri – Adi – Lalgudi Jayaraman PALLAVI Dhimta taratāni dhiranā dru’ dru’ Tanana jhanuta dhim jhanuta dhim jhanuta ~ 99 ~

(Dhimta)

ANU PALLAVI Na dru’ dru’ tani jhamta tom dru’ dru’ tāni jhamta Tanana dhim tanadhim tana dhiranā Talāngu dhittalāngu dhim Tanana dhittalāngu dhittit Talāngu dhim Tanana dhittittalāngu dhim dhim dhim talāngu (Dhimta) CHARANAM I Vela nanu kāvumu natana catura Ni vāda mahādeva s’iva s’āmbava Nivegāni verevaru leru nā Jivādāra s’ankara gangādhara Tarikita jham mdgmD dhimitakajham rnsD takita jham mrs Tatām tadhim tajham tanam tarita dhim tananananana dhim rsnsgm rsnsgm rsns gmrs nsgm rsns dhim ta nanananana dhimtadhim tananananana dhimtadhim tananananana (dhimta) Tillanas have thus come to stay as an attractive item towards end of a concert. Javalies and Tillanas are used more widely in dance performances and their popularity in the arts field is thus ensured.

~ 100 ~

RAGAMALIKA The Ragamalika is a type of composition that has continued to occupy a prominent place in the concert repertoire. Like most other compositions Ragamalikas also had a fluctuating level of popularity. In the bygone decades, which saw the checkered career of the concert platform, the history of the concert format as we see today is one of hardly a century. There is no evidence of the existence of a format Sangeetha Sabha in 19th or earlier Centuries. This does not mean that there was no music at all in the earlier centuries. Music was very much being sung and heard in temples and for small congregations in places and other aristocratic venues. The history of the formative years of the formal concert platform seems to have coincided with the birth and growth of veterans like Ariyakkudi Ramanuja Iyengar. Ariyakkudi is credited with the formation and propagation of the concert Paddhati but Soolamangalam Vaidyanatha Bhavatar (1870-1930) in his book of biographies of his contemporary luminaries has mentioned Poochi Srinivasa Iyengar as the originator of the concert planning. This has been corroborated in the book of Poochi Srinivasa Iyengar’s compositions published by Salem Chellem Iyengar. The concert formula has since been reigning supreme and blind adherence to it even threatening to become a bane in the music scene today. One need not be a great genius to conceive and execute the concert planning in which even the junior most artistes are adepts today. The planning starts with very easy steps like avoiding two items in a concert in closely related ragas or choosing songs in a variety of Talas and rhythms. Judicious representation of composers is another avoidable obsession with the contemporary performers. The fundamental thrust in the concert planning is on providing as much variety as possible. Modern ~ 101 ~

performers and listeners are so much unduly obsessed with adherence to concert planning often at the cost of music itself. Press reviewers mention the concert planning as a special merit or decry the lack of it. If the anxiety to provide variety is carried on to high levels there is an urge to show it not only in the choice of various items but also within one item and thus was born the Ragamalikas in which the composers themselves seemed to have revelled. Such a tendency has existed strongly even in the Pre-Trinity era. Muthuswamy Dikshitar’s father was considered a monarch among composers of Ragamaliks. He went some steps ahead by choosing to compose Raga tala malikas too. The longest musical composition ever is the 128 Ragatalamalika composed by Rama-swamy Dikshitar. Ragamalikas have engaged the attention of composers of all levels including film music directors. Giving characteristic shades of a number (small or big) of popular ragas in quick succession in one and the same composition had an attraction of its own by titillating the curiosity of a mixed audiences and this quality was particularly suited to film music also. Ragamalikas drew attention of composers even from days of Muthuswamy Dikshitar. An additional level of expertise of the composers is exhibited in Ragamalikas with Raga Mudra and crisp Chittaswarams in one order and in reverse order. Muthuswamy Dikshitar himself has left the music world with classical examples of all these intricacies. Muthuswamy Dikshitar is famous for intelligent incorporation of Ragamudras and he has employed it diligently even in Ragamalikas. The famous Chaturadasa Ragamalika “Sri Viswanatham” has raga mudra in all the fourteen ragas and Dikshitar could accomplish this within the ~ 102 ~

core length of the lyric of just a single aavarta. It would be difficult to believe today that the ragamalika mania existed wven in the film music. Over half a century ago, M. K. Tyagaraja Bhagavathar and a female counterpart have alternated a son in the film ‘Siva Kavi’ – (Cõ èM), which was not only a ragamalika but also one with Ragamudraas. It started in Raga Vasanta with the lyricVasanta Rity man mohaname Gmdns DM mgM dmD....... The last stanza in this mentions Surutti in the lyric. Surutti Konarndu Koduttu aluttaar polave Sollukku panjamillai Ragamalikas are compositions sung with Talam and Mrudangam accompaniment often in Pre-Pallavi stage of a music concert. Some such Ragamalikas have made history with their size and length. Maha Vaidhyanatha Iyer has composed a Ragamalika of all the 72 Melakartha Ragams in the order Kanakangi, Ratnangi, Ganamurti etc., with Raga Mudra and Swara Sahitya. This Ragamalika is not a piece intended to be sung in any part of a music concert because a complete rendition of this marathon piece will itself consume some hours and any class of listeners will not have the leisure and patience to sit through such a rendition. But there are other Ragamalikas which will fit in well in any part of the concert with their rich catchiness and variety. Swati Tirunal’s “Nitya Kalyani” enjoyed a popularity of its own for some decades and the more recent Ragamalika “Bhavayami Raghuramam” made famous by Semmangudi Srinivasa Iyer was a “must” in almost all music concerts ~ 103 ~

for some time. Another popular Ragamalika in Tamil is “Enakku un irupadam ninaikka” (âù‚° à¡ Þ¼ðî‹ G¬ù‚è). Ragamalikas have contined to be favourites with film music makers and many of them like “Ellaam Inbamayam” (â™ô£‹ Þ¡ðñò‹) of those days and “Chinnan Chirukiliye” (C¡ù…CÁ AO«ò) of the recent past have proved big hits. The shrewd professional in Ariyakkudi Ramanuja Iyengar did not let the opportunity go and he profited considerably by singing a Ragamalika Pallavi. “Sankarabharananai Azhaittodi Vaadi Kalyani Darbarukku” (êƒèó£ðóí¬ù ܬöˆ«î£® õ£® è™ò£E î˜ð£¼‚°)

Though this Pallavi was comparatively pedestrian both in lyric and technical intricacies it still clicked well with the neo-rich listeners of those days and Ariyakkudi reaped all the benefits. He employed ragamalikas in Kalpana swaras for the Pallavi. This was again carried to extreme lengths by Madurai Mani Iyer who would seem to have launched on a Pallavi only for the purpose of singing elaborate kalpana swarams on popular ragas and win the applause of laymen. He went further and did not shun annexing ragamalika swarams even in kritis like “Kaanakkan Kodi” (è£ù‚è‡ «è£®) in raga Kambhoji. Another area where ragamalika was and is in full operation is slokams and viruttams. There have been artistes who became stars mainly because of their expertise in singing viruttams S. G. Kittappa’s 1.

“Kodaiyile

(«è£¬ìJ«ô

elaippaatri

Þ¬÷Šð£ŸP

kollum

ªè£œÀ‹

vagai

õ¬è

kidaitta

A¬ìˆî

taruve”

õ) in

Pantuvarali, Kapi, Neelambari, Madhyamavati is of legendary fame. ~ 104 ~

So was K. B. Sundarambal whose 2. “Gnanappazhattai Pizhindu” (ë£ùŠðöˆ¬î HN‰¶) was on the lips of the common man and made them flock to her concerts unmindful of the classical level of her singing. If these two can be named as belonging to the theatre and not the concert hall we have had performers on the classical music platform also who

made

name

through

ragamalikas.

“Sri

Chakra

Raja

Simhaasanesveri” (ÿê‚ó ó£ü C‹ý£ê«ùvõK) was one ragamalika for which Late Maharajapuram Santhanam was famous. He and Madurai Somasundaram, particularly the latter had a big stock of ragamalikas changing ragas at every line of the song often with Ragamudra to boot. Many other composers of various levels of calibre have composed Ragamalikas which were made famous by the star performers of various ages. In most cases the composers name never became known though audiences avidly asked for this Ragamalikas. Examples of this variety are

“Sonadhaisaidida”

Kanbadeppo” (è‡í¬ù («õô¡

(ªê£¡ù¬î

ªêŒFì),

“Kannanai

裇ðªîŠ«ð£), “Velan Varuvanodi”

õ¼õ£«ù£®), and “Cindai Arindu Vadi” (C‰¬î

ÜP‰¶

õ£®) etc., are immortally famous by the great G. N. Balasubramanyam who also made Ragamalikas comprising of the verses composed by Subramanya Bharathiyar like “Dikku Teriyada Katil” (F‚°ˆ ªîKò£î 裆®™) is equally famous. The demand for Ragamalikas is sure to continue as long as the composers of the film field keep their interest in offering film hits in that variety of composition. Apart from Ragamalika set to Talams, Slokams and Viruthams sung in a set of ragas are also called Ragamalika. Such Ragamalikas ~ 105 ~

were most popular items in the days of Maha Vaidhyanatha Iyer who is set to have mesmerised the listeners with Tamil saivaite hymns after four hours long renditions of other items and Pallavi. Crisp Ragamalikas sung for a shorter duration have come to stay till today. Some of the artistes with cinematic and dramatic background have made a very big name for the renditions of Ragamalikas in Tamil language. Ariyakkudi Ramanuja Iyengar made a Ragamalika Pallavi famous. This Raga Mudhra Ragamalika Pallavi had the lyric “Sankarabharananai Azhaithodivadi Kalyani Dharbarukku” and was very popular for sometimes. The late Madurai Mani Iyer sang Ragamalika Kalpanai Swarams Pallavis in every concert and made it a piece de resistance. The first requisite for singing a slokam effectively is to know the meaning of the lyric thoroughly. Raga alapana employs the meaningless syllables tad a ri na but slokam singing must employ the meaningful syllables of the lyric. Flights of alapana must be judiciously incorporated with the help of the elongated vowels available in the lyric. Viruttams often contain moving lyric of high emotional, sentimental and philosophical to be moved immensely the philosophical content. The elderly persons among the audience are sure to be moved immensely if the vocalist sings the viruttams in a manner highlighting the philosophical content. A small dose of drama too has a place while dwelling on a viruttam of catchy and appealing lyric. An effective technique that would enhance the impact and appeal of slokam of viruttam or ugabhoga is the one called “Kondu Kutti” in which the vocalist arranges and rearranges the words in an impactful portion of the viruttam in a particular manner as to heighten the effect on the listeners.

~ 106 ~

One folly that a slokam singer should avoid is to employ music that would split apart meaningful phrases of the viruttam into meaningless parts. To avoid this, the singer should not only know the meaning thoroughly but also be emotionally attached to the matter covered in the lyric. Even leading vidwans sometimes indulge in elaborate raga alapana in the midst of slokams, reducing their status as mere launching pads for showing of their skill in elaborating ragas. On the other hand intelligent teachers would initiate young students into the world of raga alapana through the singing of slokas. Slokas and Viruttams usually have themes of devotion and surrender to the Lord and the vehemence with which svarams and korvais are sung is not called for in slokams. Singing a slokam or viruttam with feeling will indeed help the young students to grow into better human beings of sobriety and balance of mind. A lyric sung in a chain of ragas is called Slokam if it is in Sanskrit, Viruttam in Tamil, Ugabhoga in Kannada and padyas in Telugu. Some of these lyrics lend themselves to be sung either in a chain of ragas or as a ragamalika sung with tala. Great composer like Adi Sankara has given us top class lyric in Sanskrit with a built-in rhythm. “Mudaakaraatta Modaka” Adi Sankara’s Ganesa Pancharatnam, for instance will settle beautifully in Tisra Nadai with atita eduppu to boot. So is the “Sarada Ashtakam” which anchors beautifully in Khanda Chapu and atita eduppu. His Meenakshi Pancharatnam fits perfectly into khanda eka tala, chatusra nadai. When there is the choice of singing these verses either as a chain of ragas or as a song with tala, a sensitive musician would always prefer the former for its evocativeness, while the latter too can be the choice for group singing. Irrespective of what language the lyric is in, the vocalist has the primordial responsibility of knowing the meaning of the lyric thoroughly. Even in kritis there is always a difference ~ 107 ~

between the renderings of an artiste with thorough knowledge of the sahityam and another without it. This has infact given room for Patanatara Bhedam of many famous kritis. Learning the meaning of a small stretch of slokam or viruttam should be within the reach of any person of moderate education and intelligence but unfortunately majority of our musicians who spend so much time and energy in memorising the sahityam fail to foot a small amount of additional effort in knowing the meaning of the sahityam. Indian languages have lot of words with the same meaning and thus it is possible to impress even listeners of other mother tongues if only the singer has a proper grip over the lyric that he sings. The dasakuta composers alone have left behind stupendous volumes of compositions in numbers touching a million. A majority of them exist only in words without any fixed tune. These compositions come in handy for contemporary tunesmiths who revel in setting the words to tunes more often as ragamalikas comprising of ultra modern ragas even when the lyrics are some centuries old. Most of these songs fit in well in the Post-Pallavi portion of a concert. Many of our great musicians of yesteryears were in fact famous because of the popular appeal of some of their Post-Pallavi items. “Maangaay paalundu” – (ñ£ƒè£Œ

𣽇´)

for Ariyakkudi

Ramanuja Iyengar, “Velan Varuvaarodi” – ( «õô¡ õ¼õ£«ó£®), “Kannanai Kaanbadeppo” – (è‡í¬ù 裇ðªîŠ«ð£) for G.N. Balasubramanyam, “Vellai Taamarai” – (ªõœ¬÷ˆî£ñ¬ó), “Kandan Karunai” - (è‰î¡ 輬í) and “English Note” for Madurai Mani Iyer are some of the few instances that can be cited in this connection. The Post-Pallavi items were the virtual forte for any many famous musicians of those days. ~ 108 ~

Ragamalikas are thus ideal venues for showering variety, which is welcome to listeners. Variety in quick succession is sure to sustain listener’s interest and thus ragamalikas have been attempted in every type of compositions right form varnams to Mangalam. Patnam Subramanya Iyer’s “Valachi Vachchi” is among the more famous ragamalika Varnams. In this varnam Patnam Subramanya Iyer would seem to have deliberately attempted to choose closely allied ragas one after another and still establish the identity of each raga within the short space of one or two avartas. He has chosen Sankarabharanam immediately

after

Kedaram

and

Kalyani

immediately

after

Sankarabharanam Yadukula Kambhoji following Kambhoji, Bilahari alongwith Mohana etc. He can be said to have achieved considerable success in this attempt in all pairs except the two Kambhojis. Ragamalika in mangalam is very rare but Uttukkadu Venkata Subbayyar has come to our rescue. He has given us a very lively mangalam in ragamalika with voluminous lyric for which he is famous. Ragamalika is thus encompassing a very wide compass. It would be practical to put those under two categories, the Pre-Pallavi and the PostPallavi varieties. The latter naturally is of a light classical or light vein while the former would live up to the norms expected in classical pieces. Unless otherwise said a kriti is supposed to have three important sections called Pallavi – Anupallavi and Charanam and many ragamalika follow this pattern. Because of the necessity of having to present a variety of ragas in which succession ragamalikas usually have Chittaaswarams. The portrayal of raga in svarams will be a more concrete and easily recognisable presentation and chittaswarams serve a very important purpose in ragamalikas. Another common feature is to cover all the ~ 109 ~

ragas in reverse order at the end of ragamalikas. Famous ragamalikas like

‘Bhavayami’,

“Nitya

Kalyani”,

“Aarabhimaanam”,

and

“Pannagendra Sayana” follow this pattern. Dikshitar’s Chaturdasa ragamalika occupies a special exalted place among ragamalikas. The popular version of it sung without chittaswaram and the process of going through ragas in reverse order is done with sahityam itself. Dikshitar has performed the marvel of quicksilver change of ragas within half avartam. The other three ragamalikas of Dikshitar are varying formats, of course, all of them with the unique classical weight expected of the one and only Muthuswamy Dikshitar. Because of their classical weight such ragamalikas have proved popular and prestigious Pre-Pallavi items. His ‘Simhasanasthite’ is popular among dancers too. There is rich material among ragamalikas of Post-Pallavi variety also. Though the dhatu of many of them is not so religiously standardised like the PrePallavi

variety,

Bharatiyar’s

catchy lyric

and

Purandaradasa’s

Devarnamas besides the creations of many contemporary composers are freely employed as mathu. Because of the light nature of the tune these ragamalikas enjoy a ready response from the listeners. An innovative mind can employ ragamalika in National songs too and there are some not only as ragamalikas but also as ragatalamalika with gatibhedam too to boot. Some give room even for kalpana svaras. The peak point for the creative ability of Karnatic musician is the Ragam-Tanam-Pallavi and ragamalikas are incorporated in these items also with all the more of freedom and variety. The earliest attempt in this direction must have been the “Sankarabharananai Azhathodi Vaadi Kalyani Darbaarukku” a ragamudra malika Pallavi pupularised by ~ 110 ~

Ariyakkudi Ramanuja Iyengar and Sattur A.G. Subramanyam. Appending a chain of Kalpana svarams in the various ragas has also been there all song. A subsequent development was to round off the Kalpana Svaram passage covering all the ragas in reverse order. Late Madurai Mani Iyer used to sing lilting kalpana svaras in various catchy ragas and revert to the original raga, while singing the Pallavi at the end of each bout of ragamalika svaram. Another method is to sing the Pallavi format also in the various ragas and these calls for more expertise in the artiste who must be able to fit the Pallavi format in different ragas convincingly in quick succession. Some artistes start the ragamalika chain with a short niraval too in every raga. An even more adventurous effort would be to sing Trikalam and gati bhedam also in different ragas followed by Kalpana Svaram in the respective raga. Incorporation of Ragamalika in Pallavi has been carried to further heights by slightly modifying the lyric and accommodating the raga mudra too. Only artistes with a high level of command in raga and laya can attempt all this. To a creative mind sky is the limit for embellishing Pallavis and ragamalikas are eminent constituents in this exercise. Here is an example for Ragamalika “Ranganatha panchakam”, a composition by Uttukkadu Venkata Subbaiyar. Swiyathara Bhasakara - Ragamalika - Adi - Uttukkadu Venkata Subbaiyar Ragam - Punnagavarali Swiyathara Bhasakara Chandamani Yuktha Panamanditha Bujanga Sayanam Megavara Vaasaka Suvarna Giri Sowbaka ~ 111 ~

Paraabavama Nadha Ruchiram Leena Kara Chanda Buvanathraya mudhaakara Suchim Athiga Booshanakaram Nowmi Bhagavantha Mukhamantha Hasanantha madi Sundarama nantha sayanam.

Ragam - Sankarabharanam Roopamava bothamadhi noothana Manogyamathanam Bhuvana mangalakaram Varithi Sudhakara Suthakara Sukaadura Sumaadura Sushilanapadam Boothamaha daadoyam Alankritha Kalebra Makanta karunaalaya mukam Nowmi bagavanthamuka mantha Hasanantha madi Sudhara mananthasayanam

Ragam - Nadhanaamakriya Raachara Charaachara Paradhika Duraamukrithi Radhi Patubeekarathanum Naraadha varaadhinutha neeradha nibakora ~ 112 ~

Manoradha sumaathurapadam Natdayutha geetha parvedha ninadhanaka Sanaadhana janadhi kavrutham Nowmi bagavanthamuka mantha Hasanantha madi Sundara mananthasayanam

Ragam - Sriragam Hema makutathi katakaabarana kangana Samujvala manoha rathanum Geetha natanaadaya kalavtha sudhamrutha Niranjan sumangalakaram Bhagavatha Rama charithaamala dureena vacha Naadhi paripoorithakaram Nowmi bagavanthamuka mantha Hasanantha madi Sundara mananthasayanam This composition exposes the beauty of Ranganatha in sayanam and also stands as a perfect Post-Pallavi item because it is a lullaby song which fits well in the final part of the concert.

~ 113 ~