Thyagaraja – First among equals.

Renowned vocalist Abhishek Raghuram put it perfectly when he called the Chennai Music Season (referred to as just ‘the season’ by aficionados) a huge cultural extravaganza. Indeed, heritage walks, lectures, lecture demonstrations, interesting combo events (such as sarees and music) etc. abound, besides music, dance and, well, food (but that would take up an entire souvenir by itself). The season is longer now than before – while the dates are thought to be determined by the Music Academy’s schedule of December 15^th through December 31^st(for music), other sabhas often begin in November itself, going on to mid-January. Rather than demarcate music and dance into separate festivals, many sabhas now offer both throughout, just lengthening the overall season. This eases scheduling, offering options to the many rasikas who make short trips from all over the world.

This article appeared in the Thyagaraja Aradhana Souvenir of Sruti – The India Music and Dance Society of Philadelphia, Pennsylvania, USA.

Thyagaraja passed away on January 6^th, 1847 – Pushya Bahula Panchami day. Thus, January sees many ‘Thyagaraja Aradhana’ events throughout the city, practically becoming an extension of the season.  It was Harikeshanallur Muthiah Bhagavathar who selected the five Gana Raga Pancharathnams for group singing, when the Thyagaraja Aradhana, in its present form, began in Thiruvaiyaru in 1941. Sumithra Vasudev, musician, scholar and senior student of Sangeetha Kalanidhi R. Vedavalli, says, “The idea of singing pancharathnams is first said to have come about to have some songs that musicians participating in the aradhana could sing together. It was decided that since these songs were in the swara sahitya format, there would be less of stylistic differences that have to be adjusted.”

If ever there was a perfect use of the term ‘First among equals’, Thyagaraja, amongst the Trinity, would be it. His body of work is the largest (about 700, of an estimated 24,000, have reached us) and encompasses pieces in several ragas (over 200 is mentioned), various talams, gaits and, often, many emotions within the same song. He is credited with popularizing the ragas Kharaharapriya and Harikambhoji with the number of kritis he composed in them. He also created several new ragas. Thyagaraja kritis often lend themselves to several sangathis and offer excellent scope for neraval.  Entire concerts can be performed with only his works. In fact, for the last several years, senior vocalist O.S. Thiagarajan has almost exclusively presented only Thyagaraja songs in his concerts.

That Thyagaraja was a compositional genius is agreed upon by every practitioner and researcher. His songs, Abhishek says, teach one Carnatic music itself. “They were organic outpourings from the heart. It is thus a challenge to sing them the way Thyagaraja might have intended”. Abhishek, a grandson of Palghat Raghu and a trained percussionist himself, adds that Thyagaraja’s songs have laya embedded as part and parcel of the pieces and one need look no further than the Gana Raga Pancharathnams to understand this aspect.

Abhishek remarks that Thyagaraja songs enhance any concert and that this has been mentioned by many stalwarts. He recounts an anecdote where Lalgudi Jayaraman once returned from a concert and realized that he had not played any Thyagaraja kriti. He promptly sat down in his puja room, played a Thyagaraja composition. Only then did Jayaraman feel fulfilled.

Besides details of Thyagaraja’s trials, tribulations and observations from daily life, RK Shriramkumar, violinist, teacher and authority on all things Carnatic, explains that the composer delivered many lessons and entreaties in his kritis such as:

• Importance of the Guru in one’s life – Guruleka (Gaurimanohari), Ni cittamu (Dhanyasi) 
• Condemning nara stuti (the extolling  of humans) – Nidhi chala sukhama in Kalyani is a classic example 
• Total surrender of body and soul to the Divine – Ennaga manasu in Neelambari 
• Importance of satsanga (keeping good company) and the shunning of hypocrisy – Teliyaleru rama (Dhenuka), Manasu nilpa (Abhogi ) 
• Importance of Nama Smarana (recitation of the Lord’s name) – Smarane sukhamu (Janaranjani) 
• Lakshanas (qualities) of a true devotee – Bhaktuni charitramu(Begada)
• Importance of control of mind – Manasu svadhina(Shankarabharanam)
• Importance of not condemning other faiths – Bhajanaseyave (Kalyani), Vinatasuta(jayantasena), Ninne nera (Pantuvarali)
• Importance of Bhakti – Emi jesite(thodi)
• Importance of not avoiding Karma– Ni Bhakti and Yagnadulu (both in Jayamanohari)

While not a frequent traveler, Thyagaraja did make some journeys as evidenced by songs dedicated to the deities in particular kshetrams (RK Shriramkumar):

• Srirangam Pancharathnams – Chutamurare (Arabhi) , O Rangashayi (Kambhoji), Karuna judavayya (Saranga), Raju vedale (Thodi), Vina rada na (Deva Gandhari)
• Kovur Pancharathnams- I Vasudha (Sahana), Kori sevimpa rare (Kharaharapriya), Shambho Mahadeva (Pantuvarali), Nammi vaccina (Kalyani), Sundareshwaruni (Shankarabharanam)
• Lalgudi Pancharathnams– Lalite (Bhairavi), Mahita pravrddha (Kambhoji), Deva Shri (Madhyamavati), Isha pahimam (Kalyani), Gati nivani (Thodi)
• Thiruvotriyur Pancharathnams- Darini (Suddha Saveri), Kanna talli (Saveri), Sundari ninnu (Arabhi), Sundarinannindarilo (Begada), Sundari ni (Kalyani)
• Kanchipuram- Vinayakuni (Madhyamavati), Varadaraja (Svarabhushani)
• Tirupati – Teratiyaga (Gowlipantu), Venkatesha (Madhyamavati)
• Nagapattinam– Evaru teliya (Thodi)
• Madras– Venugana (Kedaragoula)

Thyagaraja Aradhanas are a celebration of the composer, Abhishek says. He suggests that one could have special events to render the kshetram-based pancharathnams too and that one need not confine oneself to the Gana Raga Pancharathnams at aradhanas either. Sumithra mentions that, in their gurukulam, they sing these songs and utsava sampradaya kritis, among others, on Bahula Panchami day.

The utsava sampradaya kritis depict the various practices that are part of the nitya utsava /nitya kalyana utsava thought to be envisioned by Thyagaraja for the pujas he performed for his favoured God, Rama, Sumithra elucidates. There are songs depicting various stages of the Nityotsava vidhi such as leading the God to the Mantapa, kalyana vaibhogam, nalungu, neivdeyam, vettrilai taamboolam, oonjal, and putting the God to sleep (jojo). These songs are sung in bhajanai performances and also at marriages, and temple rituals such as kalyana utsavams. It is an artiste’s preference as to whether it is used in the concert repertoire – even if done so, rarely are all the charanams sung. Badalika theera (Reethigowla) and Melukovayya (Bhowli) are rather popular.

Shriramkumar refers to Thyagaraja’s illustration of the nine forms of bhakti (Nava vidha bhakti) in his kritis:

1. Shravanam – hearing stories of God – Rama katha sudha (Madyamavathi)
2. Keerthanam – Chanting or singing God’s glories – Intha Saukhyamani (Kapi)
3. Smaranam – remembering the Lord – Shripate (Nagasvaravali), Smarane Sukhamu (Janaranjani)
4. Padasevanam – offering services to holy places/holy work – Shri Rama Padama (Amritavahini), Shri Manini (Purnashadjam), Ni pada pankaja (Begada)
5. Archanam – Performing puja – Tulasi bilva (Kedaragoula), Koluvamare kadha and Aragimpave (both in Thodi)
6. Vandanam – Paying obeisance to God – Vandanamu (Sahana)
7. Dasyam – selfless service to the Lord – Upacharamu jesevaru (Bhairavi), Tava dasoham (Punnagavarali)
8. Sakhyam – unconditional friendship with God – Chelimini jalajakshu (Yadukula Kambhoji)
9. Atma Nivedhanam – complete surrender to God – Kalaharana (Kedaragoula), Makelara (Ravichandrika), Nivera kula dhanamu (Begada)

His observations/lessons on life and devotion aside, Abhishek says that Thyagaraja’s musicianship was par excellence. He refers to Thyagaraja’s corpus of compositions in Thodi as so complete that there is nothing left to further illustrate in that ragam. To have composed in the appropriate raga, tala, melody and gait for each piece is an illustration of how rhythm, melody and lyric are inextricably intertwined in his compositions. This was only possible because Thyagaraja did not compose his songs as a task he set out to do with the intellect. It came to him through divine grace, says Abhishek. Music is said to express/touch emotions that we might not be able to articulate with words and, since Thyagaraja’s kritis are essentially conversations with God, they touch on the gamut of every possible emotion making anyone relate to them, Abhishek Raghuram adds.

Some of Thyagaraja’s songs have undergone significant changes over the years and in some cases, the raga itself has metamorphosed. Smt. Vedavalli and her students mention a few. The popular song, Nadha thanu(m) anisham is generally sung as a janya of Kharaharapriya, since the words Sama gana occur in them; however, Chittharanjani is actually documented as a janya of Jhankaradhwani. Seethamma mayamma usually sung in Vasantha was originally in Lalitha. In the Hamsanadham kriti, Bantu reethi, the vivadi notes have been eliminated in the popularly sung current version. Gnanamosagarada sung in Poorvikalyani was actually in Shadvidamarghini – many feel that the latter suits the meaning of the song more appropriately. Nagumomu is sung in Abheri. However, modern versions of Abheri incorrectly use the chatushruti dhaivata instead of the shuddha dhaivata. When Smt. Vedavalli and her students sing any song set in Abheri, the difference is clear and pronounced. Rama Neeyeda, generally sung in Kharaharapriya is documented as set in Dileepakam. Chetulara now often sung in Bhairavi was earlier presented in Natabhairavi and is originally composed in Kharaharapriya. The Vedavalli gurukulam preserves the tradition and sings these songs in the older, documented patantharam.

Sumithra adds that, amongst the Gana Raga Pancharathnams, the Varali pancharathnam has had the structure of a kirtanam with only one charanam (satatamu…) in publications like the Sangita Sampradaya Pradarshini (1904). How and when it developed to its present form is not very clear. In the Nattai pancharathnam too, the ordering of the charanams has different versions.  Dr. Radha Bhaskar, musician and musicologist, explains a facet of the Arabhi pancharathnam – despite the avarohanam of the raga being SNDPMGRS, Thyagaraja uses only SDP throughout whilst giving the feel of SNDP. The fourth swara sahitya alone of this song though, begins with SND. Dr. Radha says that it is unclear as to whether it was Thyagaraja himself who actually composed that stanza or if it was actually written by someone else – perhaps being the reason for this stanza generally not being sung.

There are also different ways of singing a pancharathnam. During this past season, for example, popular vocalist Ramakrishnan Murthy presented a Ragam, Thanam, Pancharathnam – (Arabhi – Sadinchane), at the Thyaga Brahma Gana Sabha. He sang the Pallavi and Anupallavi in two speeds and each charanam twice in madhyama kalam. He also did neraval and swarams in thanam style. He explained that the Pancharathnams (except Varali) were designed in Thana Varnam style lending itself to this interpretation. Dr. Pantula Rama is known to have done this earlier. Ramakrishnan added that there was another sampradaya of singing swaram, tanam and sahitya for each of the charanams.

The sabha Mudhra (run by Mudhra Bhaskar and Dr. Radha Bhaskar) heralds the New Year with the unique concept of the Sthree Thyagaraja Pancharathnam – the singing of the Gana Raga Pancharathnams by a group of all female artistes. Dr. Radha explains. “Usually in all Pancharathnam renditions, we see that the male artistes dominate since the songs are sung in C scale which is ideally suitable for them. But female artistes have to maneuver between the upper and lower octaves to match the male sruthi and it is a lot of strain on the voice too. So, a novel idea of an all women ensemble was started and in this, even the accompanists are female – violin, veena, flute, mrudangam, ghatam, kanjira.”

For Dr. Radha, Thyagaraja’s works are full of spirituality but, at the same time, highly scientific and replete with melodic and artistic beauty.  “His compositions have had a very strong influence upon the musical scenario of South India in the 18^th and 19^th century as it revolutionized the very nature of Carnatic music. It has opened up new avenues in terms of raga portrayal as well as in making music reach a wider spectrum. The compositions of Thyagaraja, ranging from the simple to complex, have thrown open endless varieties in raga delineation. It has also been instrumental in paving the way for the music which has come after that and to make Carnatic music what it is today.”

As V. Sriram, historian, author and Secretary of The Madras Music Academy stated so eloquently, it is very likely that at any point in time, someone, somewhere in the world, is singing a Thyagaraja kriti. There can be no greater testament to Thyagaraja’s exalted stature in the Carnatic firmament.

The author thanks Sri. Dinakar Subramaniam of Sruti, Philadelphia for the opportunity to write this piece. She is grateful to each and every artiste, referred to in the article, who kindly proffered his/her time, and informative comments. She also expresses her sincere thanks to Sri. Prashant Prasad, Smt. Hemamalini Arunkumar and Prof. Arunkumar Sridharan for their invaluable input. Sri. V. Sriram was kind enough to permit the use of his fact-filled series on Thyagaraja, published in The Hindu, for this article.