HISTORY
OF CARNATIC MUSIC
HISTORY OF CARNATIC
MUSIC
The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.
THE ANCIENT PERIOD (Vedic period - 4th Century AD)
This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:
Vedas:
* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).
* Several references to music of musical instruments are seen in the Vedas.
* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.
* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.
* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.
* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.
Bharata's Natyasastra (The 2nd - 4th century AD)
This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.
Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).
In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).
MEDIEVAL PERIOD (5th - 16th Century AD)
During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.
* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.
* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.
* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.
* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.
Sangeeta Ratnakara
An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.
Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.
Musical Forms
This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.
Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.
In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music
MODERN PERIOD (17th century to present day)
The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.
Theoretical aspects
The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).
By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.
While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.
Practical aspects
In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)
Musical concepts
The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.
Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.
Music Education
The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.
The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.
The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.
THE ANCIENT PERIOD (Vedic period - 4th Century AD)
This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:
Vedas:
* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).
* Several references to music of musical instruments are seen in the Vedas.
* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.
* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.
* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.
* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.
Bharata's Natyasastra (The 2nd - 4th century AD)
This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.
Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).
In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).
MEDIEVAL PERIOD (5th - 16th Century AD)
During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.
* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.
* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.
* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.
* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.
Sangeeta Ratnakara
An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.
Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.
Musical Forms
This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.
Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.
In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music
MODERN PERIOD (17th century to present day)
The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.
Theoretical aspects
The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).
By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.
While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.
Practical aspects
In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)
Musical concepts
The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.
Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.
Music Education
The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.
The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.
Thursday, August 16, 2007
Jayachamaraja
Wodeyar (1919 - 1974) Biography and Works
Biography
Jayachamaraja Wodeyar
was one of the rare Kings who was also an important musicologist and composer.
Perhaps he was following the example set by Travancore king - composer Swati
Tirunal and the last Mughal emperor - ghazal poet Bahadur Shah Zafar .
Jayachamaraja
Wodeyar was born in Mysore on 18th
July, 1919 as the son of Kanteerava Narasimharaja
Wodeyar. He received traing from ashtana vidhwans in all arts and sciences.
Mysore kings were great patrons of art and music. They had in their court great
musicians from all over India, both Carnatic and Hindustani.
Jayachamaraja Wodeyar
ascended to the throne in 1940, after the death of Chamaraja Wodeyar IV and ruled till 1950, when
he handed over the state to the Indian republic, ending 550 years of Wodeyar rule. But,
he continued to be the constitutional head of Mysore state as the Raja Pramukh (1950-56), till the post was
abolished. He was then the first governor of Mysore state (1956-65) and also Madras state (1964-67).
As a great patron
of music, he had several artists in his court - Tiger
VaradachariarMysore Vasudevachar, Muthaiah Bhagavathar, Gotuvadyam Narayana Iyengar and Ariyakudi Ramanuja Iyengar.
Jayachamaraja Wodeyar composed about 90
krithi-s in Sanskrit, some in rare raaga-s like Bhogavasanta, Durvangi. He had
great interest in western music too. He was the recipient of D.Lit from
Queensland University, Australia, Doctor of Law from Banaras University, and
D.Lit from Annamalai University. He was honorary Fellow of Trinity College of
Music, London, in the year 1945.
Mudra: Shrividhya
Genre Carnatic: Krithi, Varna
Genre Carnatic: Krithi, Varna
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Languages used:
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Sanskrit
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Compositions:
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Ambujakshi
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Simhavahini
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Rupaka
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Krithi
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Balakrishnam
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Nilaveni
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Adi
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Krithi
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Bhajare mohana
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Bhanuchandrika
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Rupaka
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Krithi
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Bhooribhagyalahari
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Pratapavarali
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Adi
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Krithi
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Brahmananda valaye
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Maand
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Triputa
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Krithi
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Chintayami Jagadambha
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Hindolam
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Adi
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Krithi
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Chinthaye sada
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Sindhuramakriya
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Adi
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Krithi
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Chintyami santhanama
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Varunapriya
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Adi
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Krithi
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Devi Jadambika
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Vasantha Bhairavi
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Khanda Jhampa
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Krithi
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Devi Sri Meenakshi
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Chakravakam
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Triputa
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Krithi
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Gam Ganapathi
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Durvangi
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Triputa
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Krithi
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Gamganapathe sada
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Nagasvaravali
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Adi
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Krithi
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Kamakshi pahi mam
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Shivakambodi
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Khanda Triputa
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Krithi
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Kshirasagara
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Mayamalavagaula
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Dhruva
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Krithi
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Manavathim
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Kokilapriya
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Adi
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Krithi
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Matanga kanyam
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Sudha Thodi
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Khanda Triputa
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Krithi
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Mrithunjayam
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Ragavardhini
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Triputa
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Krithi
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Nadarupini vandeham
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Kokilapanchamam
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Adi
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Krithi
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Nagalinga Maheswaram
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Sankarabharanam
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Rupaka
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Krithi
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Neelakantam Mahadevam
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Purvikalyani
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Misra Triputa
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Krithi
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Pahi mam
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Supradeepa
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Adi
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Krithi
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Pahimam Sitarama
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Hindola Desika
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Adi
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Krithi
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Pahimam Sri
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Jayasamavardhani
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Khanda Triputa
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Krithi
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Pahimam Sri Parameswari
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Hindola Durbar
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Rupaka
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Krithi
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Paripahi mam
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Subhapanthuvarali
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Adi
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Krithi
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Rajarajeswarim
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Balachandrika
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Khanda Triputa
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Krithi
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Saraswathim bhagavathim
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Hamsavinodhini
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Khanda Chapu
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Krithi
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Sri Chakrapurvasini
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Sudha Lalitha
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Adi
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Krithi
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Sri Gayatri
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Gamanasrama
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Druva
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Krithi
|
|
Sri Jalandhara masrayamyaham
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Gambhiranatta
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Adi
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Krithi
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Sri Nagalingam
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Vachaspathi
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Jhampa
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Krithi
|
|
Sri Ranganathani
|
Kalyanavasantham
|
Jhampa
|
Krithi
|
|
Sri vidya lalitham
|
Nadabrahma
|
Adi
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Krithi
|
|
Sri Vidyamodini
|
Kokilabhashini
|
Tisra Triputa
|
Krithi
|
|
Sri Vidyapati
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Lalitha Panchamam
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Adi
|
Krithi
|
|
Srichamundeswari
|
Kannada
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Adi
|
Krithi
|
|
Srilalitham maha
|
Nagadhvani
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Khanda Triputa
|
Krithi
|
|
Suranandinee
|
Suranandini
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Adi
|
Krithi
|
|
Suvarnangi
|
Suvarnangi
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Misra Jhampa
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Krithi
|
|
Swaminatha palaya
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Charukesi
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Triputa
|
Krithi
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|
Vandeham Sive
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Kathanakuthuhalam
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Matya
|
Krithi
|
|
Vandehamsada
|
Hamsanatini
|
Adi
|
Krithi
|
|
Vijayatam sagare
|
Vishwambhari
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Triputa
|
Krithi
|
|
Vimalambike paripahim
|
Vijayavasantha
|
Adi
|
Krithi
|
Papanasam
Shivan (1890 - 1973) Biography and Works
Biography
Papanasam Shivan is
the most important Carnatic Composer in Tamil. He has composed over two
thousand songs in seventy five raaga-s. He is known as Tamil Thyagaraja.
Papanasam Shivan was
born in 1890
in Polaham, Tanjavur district. His real name was Polagam Ramaiah.
His father passed away very early, forcing his mother to move to
Thiruvananthapuram. Papanasam Shivan studied Sanskrit at Maharajah's college.
His musical training was mostly informal. He was guided and influenced by
Neelakanta Sivan and Konerirajapuram Vaidyanatha Iyer. The limited formal
training he had was from Samba Bhagavatar and Mahadeva Bhagavatar. He also
never had any formal training in Tamil.
He was a teacher at
Kalakshetra for sometime. During that time he got a big break and started
working for the Tamil music indutry. About 800 of his compositions would be for
the film industry. He is perhaps the only Carnatic composer to have so
extensively worked for the film industry. Papanasam Shivan's carnatic
compositions were mostly spontaneous and noted down by others. His compositions
were mostly in Tamil, even though he has some Sanskrit compositions. In 1972 he was awarded,
belatedly, Sangeetha Kalanidhi by Madras Music academy.
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Mudra: Ramadasan
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|
|
Genre Carnatic: Krithi, Varna, Thillana
|
|
|
|
|
|
Languages used: Tamil,
Sanskrit
|
|
Compositions:
Composition
Raaga-Taala-Type
abhayAmbikA ramaNa
shankarAbharaNa-Adi-krithi
adbhuta lIlaigaLai
madhyamAvati-Adi-krithi
aDimai ennai
mukhAri-rUpaka-krithi
aDimai mEl
nATa-Adi-krithi
aDimaiyin uLLa (kaNNigaL)
vasantA-Adi-krithi
aDimalariNai
paraju-Adi-krithi
aDittAlum unai
nATa-Adi-krithi
ADiya pAdattai
kAmavardhini-Adi-krithi
ADum deivam
kAmbhOji-Adi-krithi
AduvOm vArungaL
kEdAra-Adi-krithi
aiyA nin
bilahari-Adi-krithi
aiyan tiruvaDiyai
rAgam: pUrvikalyANi-Adi-krithi
aiyappanai paNivOm
Arabhi-Adi-krithi
akhilANDa nAyaki
shankarAbharaNa-Adi-krithi
akhilANDeshvari
shri-Adi-krithi
aLavilAda Anandam
bhairavi-Adi-krithi
aLavillaiyE
mukhAri-dEshAdi-krithi
amalE amarargaL (bhajan)
kuntalavarALi-Adi-krithi
ambA manam
kAmavardhini-Adi-krithi
ambA un mEl
behAg-Adi-krithi
ambA un pAdam
gambhIranATa-Adi-krithi
ambA unaiyE
shankarAbharaNa-dEshAdi-krithi
Ananda naTamADum ayyan
shuddhadhanyAsi-rUpaka-krithi
Ananda naTamiDum
kEdAragauLa-Adi-krithi
Anandabhairavi anaiyum
Anandabhairavi-Adi-krithi
AnandamE paramAnandamE
kAmbhOji-Adi-krithi
anbilaiyE
khamAs-rUpaka-krithi
ANDavan anbE shakti
shivaranjani-Adi-krithi
ANDavan nIyE
mAyAmALavagauLa-Adi-krithi
ANDavanai nambu
sAma-Adi-krithi
ANDavanE unai
SaNmukhapriya-rUpaka-krithi
anjalenrE
rAgam: bilahari-Adi-krithi
annaiyin kAlil
rAgamAlikA-Adi-krithi
annaiyum tandaiyum
kApi-Adi-krithi
anudinamunai
madhyamAvati-Adi-krithi
appan avataritta
kharaharapriyA-Adi-krithi
appanum ammaiyum
aThANA-Adi-krithi
AraNa poruLE
dEvagAndhAri-Adi-krithi
AraNamum Agamum
kharaharapriyA-jhampa-krithi
aruL puri
sarasvati-Adi-krithi
arumukhA
shuddhasAvEri-Adi-krithi
aruT-tivilai
rAgam: husEni-Adi-krithi
attaruNam
bhairavi-Adi-krithi
avAng manasa
cakravAka-Adi-krithi
bAla pAhi
nIlAmbari-Adi-krithi
bAlakrSNa mAm pAhi
sAvEri-Adi-krithi
bAlakrSNan
dhanyAsi-rUpaka-krithi
bAlasubramaNya
kEdAragauLa-rUpaka-krithi
bhAgavatOttama
behAg-Adi-krithi
bhajanai sheivAi
behAg-Adi-krithi
bhajanai sheivOm
naTabhairavi-Adi-krithi
bhArata mAtA
naTabhairavi-Adi-krithi
bhArata puNya bhUmi
kuntalavarALi-Adi-krithi
bhUmiyil mAniDa (kaNNigaL)
sindhubhairavi-Adi-krithi
bhuvana patI
kAmbhOji-Adi-krithi
bhuvanEshvari pAdam
bEgaDa-rUpaka-krithi
bhuvanEshvari pughal
maNirangu-dEshAdi-krithi
bOdhendra gurumUrti
pUrvikalyANi-Adi-krithi
cAmuNDEshvari
sAvEri-Adi-krithi
candra kalAvatam
shankarAbharaNa-Adi-krithi
caraNa pankajam
mAyAmALavagauLa-cApu-krithi
caraNAmbujam
shuddhasAvEri-Adi-krithi
cidambara nAthA
hEmavati-Adi-krithi
cintai teLindu
kalyANi-rUpaka-krithi
cittam irangAdEnaiyyA
shahAnA-cApu-krithi
daNDapANi padam
rAgaA: maNirangu-Adi-krithi
dasharatAtmajam
pUrvikalyANi-rUpaka-krithi
dayAnidhE jAnakIpatE
nATa-Adi-krithi
dayAparan shankaran
kharaharapriyA-Adi-krithi
dayavillaiyA dayALO
kharaharapriyA-Adi-krithi
deivam tuNai
SaNmukhapriyA-Adi-krithi
dEsha sEvai
mAND-Adi-krithi
dEva dEvanai
cenjuruTTi-rUpaka-krithi
dEvadEvan pAdam
khamAs-Adi-krithi
dEvi nin
bEgaDa-Adi-krithi
dEvi nIyE
kIravANi-Adi-krithi
dEvi pAdam
tODi-Adi-krithi
dEvI shrI
kalyANi-Adi-krithi
dEvi undan
mukhAri-Adi-krithi
dharma samvardhani
nATakuranji-Adi-krithi
dhIm tarana (tillAnA)
SaNmukhapriyA-Adi-krithi
dhyAnamE enadu
kApi-Adi-krithi
dikku vErillai
varALi-Adi-krithi
dinam IdE
bhUpALa-Adi-krithi
durgAlakSmi
Arabhi-Adi-krithi
ellAm avan sheyal
tODi-cApu-krithi
ellAm brahmamayam
behAg-Adi-krithi
en manam
simhEndramadhyam-Adi-krithi
enadu manam
harikAmbhOji-Adi-krithi
enadu uLLamE
cenjuruTi-rUpaka-krithi
enda vidam
mukhAri-jhampa-krithi
endai gOvindan
bilahari-Adi-krithi
engum niraindirukkum
kurinji-Adi-krithi
enna sheidAlum
kharaharapriyA-Adi-krithi
enna tavam
kApi-Adi-krithi
ennai kAttaruLvadu
hEmavati-Adi-krithi
ennai shOdanai
kalyANi-cApu-krithi
ennai viTTODAdEDA
mOhana-Adi-krithi
ennALum inda
rAgAmukhAri-Adi-krithi
Enunakkinnum
kApi-Adi-krithi
gajavadana
shrIranjani-Adi-krithi
gAna rasamuDan
bEgaDa-rUpaka-krithi
gaNapatiyE karuNAnidhiyE
kharaharapriyA-Adi-krithi
gAndhijiyAi
hamsadhvani-Adi-krithi
gAndhiyai pOloru
cenjuruTi-Adi-krithi
gangai aNi
tODi-mishra Eka-krithi
garbhavAsam ariyAda
hamsadhvani-Adi-krithi
gati nIyE
sahAnA-Adi-krithi
gati udavum
RAgamAlika-jhampa-krithi
gaurImanOhara
gaurimanOari-Adi-krithi
gOkulam yamunai
dEs-Adi-krithi
gOmati tAyE
yadukulakAmbhOji-Adi-krithi
gOpAla sajjana
dhanyAsi-Adi-krithi
gOpAlanE deivamAm
khamAs-Adi-krithi
grahangaLim
bhairavi-Adi-krithi
guruvAyUrappA
cakravAka-Adi-krithi
haranE innum
karnATakabehAg-Adi-krithi
iDadu padam
khamAs-Adi-krithi
iDaiyarAdun
sahAnA-Adi-krithi
iddaraNiyil
bEgaDa-cApu-krithi
ihaparamenum iru
simhEndramadhyam-Adi-krithi
illai enra
kharaharapriyA-tisra Adi-krithi
inbamenbadu
kAnaDA-Adi-krithi
inda parAmukhamA
mAyAmALavagauLa-rUpaka-krithi
indrajAla (kaNNigaL)
kAmavardhini-Adi-krithi
Ini oru kaNam
shrIranjani-rUpaka-krithi
IshananbAr
kApi-rUpaka-krithi
IshanE inda
cakravAka-rUpaka-krithi
jAnakIpatE
kharaharapriyA-Adi-krithi
jaya bhErikai
kAmbhOji-Adi-krithi
jaya jaya guhA
shuddhadhanyAsi-Adi-krithi
jaya vijayIbhava
mAND-Adi-krithi
jaya vIra
paraju-Adi-krithi
jaya viTThala
bilahari-rUpaka-krithi
jE paNDarIsha
sOhini-Adi-krithi
jnAna sabhaiyil
sArangA-cApu-krithi
jyOti mayamAna (kaNNIgaL)
kuriniji-Adi-krithi
kaDaikkaN nOkki
tODi-Adi-krithi
kaDaikkaN pArvai
khamAs-Adi-krithi
kAdali rAdhaiyai
kharaharapriyA-Adi-krithi
kaDalil amizhndiDuvOm
maNirangu-Adi-krithi
kadir kAma
kAmbhOji-tisra tripuTa-krithi
kai koDuttALaiyyA
bEgaDa-Adi (2 kaLai)-krithi
kailAsacala vAsA
hindOLa-Adi-krithi
kaimmAru sheivaduNDO
kEdAragauLa-Adi-krithi
kAl mAri ADum
dEvamanOhari-dEshAdi-krithi
kali tIrumO
tODi-dEshAdi-krithi
kallAda Ezhai
sAvEri-Adi-krithi
kalpakAmbikA
harikAmbhOji-Adi-krithi
kalpakAmbikai nI
behAg-rUpaka-krithi
kalpakAmbikai uNDu
shuddhasAvEri-khaNDa jhampa-krithi
kalpakAmbikaiyin
rAgam: latAngi-Adi-krithi
kalpakAmbikE shrI
bhairavi-rUpaka-krithi
kalyANi karuNAnidhi
KalyANi-Adi-krithi
kAmAkSi gauri
sAvEri-Adi-krithi
kamala malaridazh
kalyANi-Adi-krithi
kamalAmbA anaiyE
shankarAbharaNa-Adi-krithi
kamalappada malariNai
harikAmbOji-Adi-krithi
kAmAntakA
kApi-Adi-krithi
kAmattai jayikkAdavan
dhanyAsi-cApu-krithi
kAmEshvarA
kalyANi-dEshAdi-krithi
kan manam
surAti-Adi-krithi
kANa Aval
mOhana-Adi-krithi
kANa vENDAmO
shrIranjani-rUpaka-krithi
kANa virumbum
mukhAri-Adi-krithi
kanaka sabhaiyai
hindustAnikApi-rUpaka-krithi
kANakkaN kOTi
kAmbOji-Adi-krithi
kandA vandaruL
AbhEri-Adi-krithi
kanindaruL
kalyANi-tisra Adi-krithi
kanja malaraDi
shankarAbaraNa-Adi-krithi
kaNNA kAttaruL
madhyamAvati-Adi-krithi
kaNNan madhura idazhai
bhImpalAs-Adi-krithi
kaNNan mALigaikkE
aThANA-Adi-krithi
kaNNanai paNi
SaNmukhapriyA-Adi-krithi
kaNNE en kaNmaiyE
kurinji-tisra Adi-krithi
kAntimati annai
kAnaDA-cApu-krithi
kapAli irukka
sAvEri-khanDa jhampa-krithi
kapAli karuNai nidhi
hamsadhvani-Adi-krithi
kApAli karuNai nilavu
mOhana-Adi-krithi
kapAlIshanE
khamAs-Adi-krithi
kAriruLokka
kharharapriyA-Adi-krithi
karpaka manOhara
malayamAruta-khaNDa jhampa-krithi
karpaka vallI
ragamAlikA-Adi-krithi
karpaka valliyin
Arabhi-Adi-krithi
karpakAmbikE
bilahari-rUpaka-krithi
karpakamE
madhyamAvati-Adi-krithi
kArtikEya gAngEya
tODi-Adi-krithi
karuNA nidhiyE
bauLi-tisra tripuTa-krithi
karuNai puri
tODi-Adi-krithi
karuNai sheivAi
hamsadhvani-dEshAdi-krithi
karuNai varumO
cArukEsi-Adi-krithi
karuNakaranE shiva
kIravANi-Adi-krithi
karuNAnidhiyE
kuntalavarALi-Adi-krithi
karuNAnidhiyE kaDaikkaN
kuntalavarALi-Adi-krithi
konjam dayai
shankarAbharaNa-cApu-krithi
kOsalai pudalvanai
rAgamAlikA-Adi-krithi
krSNA mukundA
navarOj-Adi-krithi
krSNa nAma
behAg-dEshAdi-krithi
Muthaiah
Bhagavathar (1877 - 1945) Biography and Works
Biography
Dr. Harikesanallur
Muthaiah Bhagavathar is one of the most important post-trinity composers and an
important vocalist as well.
Muthaiah
Bhagavathar was born to Lingam Iyer and Anamdam
in 1877. After the early death of
his father, he was brought up by his maternal uncle Lakshamana Suri of
Harikesanallur, who taught his Sanskrit, Vedas and music. He got further
musical training from Sambasiva Iyer and his son T. S. Sabesa Iyer, who
belonged to the Thyagaraja shishya parampara.
As a vocalist, his
big break came when in 1887 he sang before Maharaja Mulam Thirunal of Travancore who honoured
him as a court musician. This established him as one of the front ranking
musicians of the time. Later he started giving Harikatha performances, for
which he earned the name Bhagavathar. This was the time he started composing,
which he would use in his Harikatha-s.
The next phase of
his life was as a court musician in Mysore, from 1927. Most of his compositions
were from this period. Initially he composed mostly in Madhyakala, like Shri Tyagaraja.
After 1931, he was influenced by Muthuswamy Dikshitar compositions and started
compoing in vilambita kala. In 1936, he was again invited by Maharani Sethu Parvathi of
Travancore and he spent several years there. during that time, one of his major
contributions was popularising Swati
Tirunal compositions. He was also the first
prinicipal of "Swathi Thirunal Academy
of Music" there.
Apart from being a
vocalist and composer, Muthaiah Bhagavathar was also a learned musicologist. He
was actively involved in the Annual Conference of Experts conducted by The
Music Academy of Madras. In 1930 he was awarded the Sangeetha Kalanidhi by the
academy. He also wrote a book on the science of music, Sangeetha Kalpa Dhruma,
for which he was awarded Degree of Doctorate in 1943
by the Travancore state.
Teachers
& Influences:M. Lakshamana Suri, Sambasiva Iyer, T. S. Sabesa Iyer
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Mudra:
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Harikesha
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Languages used:
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Telugu, Sanskrit
|
Genre Carnatic: Krithi
Compositions:
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Adityan Devadidevam
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Mayamalavagaula
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Adi
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Krithi
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Ajam haram Ambikavanam
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Nilambari
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Adi
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Krithi
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Amba mahavani
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Saraswati Manohari
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Khanda Chapu
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Krithi
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Ambavanina
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Keeravani
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Adi
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Krithi
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Anagham akhilandam
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Mandari
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Rupaka
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Krithi
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Anandamana sangeetham
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Kambhoji
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Adi
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Krithi
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Anandapuram haram
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Vijayasree
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Adi
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Krithi
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Ananthapadmanabham
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Malahari
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Rupaka
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Krithi
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Ananthaya sarvaya
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Bauli
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Adi
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Krithi
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Andavan darisanamae
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Jonpuri
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Adi
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Krithi
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Anekatame
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Vijayanagari
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Adi
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Krithi
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Angaraka Mangalamurthye
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Ritigaula
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Rupaka
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Krithi
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Aniswaram abhishekaram
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Charukesi
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Adi
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Krithi
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Anthakasura subane
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Sahana
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Rupaka
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Krithi
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Aparajithe amarasanuthe
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Kannada
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Adi
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Krithi
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Apavarga pradam asraye
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Pasupatipriya
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Adi
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Krithi
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Arrukkum adangada
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Begada
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Adi
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Krithi
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Arya Devi
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Sahana
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Adi
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Krithi
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Astamurthim sishtamurthim
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Gaulipantu
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Misra Chapu
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Krithi
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Athisayavara
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Mandari
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Adi
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Krithi
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Atisundaram avyaktham
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Simhendramadhyamam
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Rupaka
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Krithi
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Avan seyalauni
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Hamirkalyani
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Adi
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Krithi
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Bale paripahi sahu
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Begada
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Rupaka
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Krithi
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Balochanam bhaga
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Saurashtram
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Misra Chapu
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Krithi
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Balumo samayannu
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Sahana
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Khanda Chapu
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Varnam
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Bhagala Deviya
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HanumaThodi
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Adi
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Krithi
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Bhagavate rudraya
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Kurinji
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Adi
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Krithi
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Bhajamyaham avyayam
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Nagagandhari
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Adi
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Krithi
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Bhakthavalsala paramesvara
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Karnataka Bihag
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Rupaka
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Krithi
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Bhandasuravimardini
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Manirang
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Rupaka
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Krithi
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Bhargam pasupatim
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Jingla
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Misra Chapu
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Krithi
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Bhavapasa mochakam
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Pushpalatika
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Jhampa
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Krithi
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Bhujanga Bhushana
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Chenchukamboji
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Adi
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Krithi
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Bhutha pataye namo
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Nagasvaravali
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Adi
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Krithi
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Bhuvaneswari alita
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Mohanakalyani
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Adi
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Krithi
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Bindupeetha kritavase
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Huseni
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Misra Chapu
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Krithi
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Chakra ragarathe
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Dharmavathi
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Rupaka
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Krithi
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Chakresi pradeepa sri
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Chakrapradeepta
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Adi
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Krithi
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Chandamundasiraschethry
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Garudadhwani
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Rupaka
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Krithi
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Chandrashekara vibushite
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Sankarabharanam
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Adi
|
Krithi
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Charuvikrama
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Hamsadhwani
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Adi
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Krithi
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Chidanikunda sambhute
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Ataana
|
Adi
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Krithi
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Dakshatvaraharam
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Surutti
|
Adi
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Krithi
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Dandina Sri Chandikambe
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Salaga Bhairavi
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Adi
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Krithi
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Devam kavachinam
|
Bangala
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Adi
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Krithi
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Devi damshrakarala
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Hamirkalyani
|
Adi
|
Krithi
|
|
Devi Gaurininna
|
Gaurimanohari
|
Khanda Chapu
|
Krithi
|
|
Devi Sivadutipradae
|
Punnagavarali
|
Rupaka
|
Krithi
|
|
Devi Sri Mahalakshmi
|
Harinarayani
|
Adi
|
Krithi
|
|
Devidakshayani
|
Balahamsa
|
Rupaka
|
Krithi
|
|
Dhirasikhamani
|
Ritigaula
|
Adi
|
Krithi
|
|
Dinamani umasaga
|
Mayamalavagaula
|
Rupaka
|
Krithi
|
|
Ennalu tirugu
|
Mandari
|
Adi
|
Krithi
|
|
Gamanatham bhaje
|
Panchamam
|
Misra Chapu
|
Krithi
|
|
Gamganapathe namo nama
|
Hamsadhwani
|
Rupaka
|
Krithi
|
|
Ganesha skanda janani
|
Nagabhushani
|
Rupaka
|
Krithi
|
|
Garudavahana
|
Garudadhwani
|
Rupaka
|
Krithi
|
|
Giridhanvinam
|
Kokiladhvani
|
Adi
|
Krithi
|
|
Girija deviya bhajisetho
|
Veenadhari
|
Adi
|
Krithi
|
|
Giripriyam gangadharam
|
Kathanakuthuhalam
|
Adi
|
Krithi
|
|
Girisam mahesham
|
Kaanada
|
Misra Chapu
|
Krithi
|
|
Gopalanandana
|
Kathanakuthuhalam
|
Adi
|
Krithi
|
|
Gurunatha
|
Pushpalatika
|
Khanda Chapu
|
Krithi
|
|
Hara Maheswara
|
Begada
|
Adi
|
Krithi
|
|
Harihara Mahadeva
|
Jaymanohari
|
Rupaka
|
Krithi
|
|
Himagiri tanaye
|
Udayaravichandrika
|
Adi
|
Krithi
|
|
Himagirisa manomani
|
Isamanohari
|
Adi
|
Krithi
|
|
Ikhane tala
|
Guharanjini
|
Adi
|
Krithi
|
|
Ithi vela nanne
|
Kokilabhashini
|
Rupaka
|
Krithi
|
|
Jagadguru
|
Gopikavasantham
|
Adi
|
Krithi
|
|
Jalandharasupeethasthe
|
Valaji
|
Rupaka
|
Krithi
|
|
Jannani Ashrita
|
Ratnangi
|
Rupaka
|
Krithi
|
|
Japakusuma
|
Dhanyasi
|
Adi
|
Krithi
|
|
Jaya jaya basha
|
Sudha Seemanthini
|
Adi
|
Krithi
|
|
Jaya Mahishasura
|
Hamsadhwani
|
Rupaka
|
Krithi
|
|
Jaya Narayana
|
Abhogi
|
Adi
|
Krithi
|
|
Jayadevijaganmathe
|
Garuda Malhar
|
Triputa
|
Krithi
|
|
Jvaalajjihve
|
Darbar
|
Adi
|
Krithi
|
|
Kadambavanavasini
|
Bhoopalam
|
Triputa
|
Krithi
|
|
Kala ratri svaroopini
|
Urmika/Sudha
|
Adi
|
Krithi
|
|
Kalati thaya
|
Udayaravichandrika
|
Adi
|
Krithi
|
|
Kameswari Sri
|
Kurinji
|
Jhampa
|
Krithi
|
|
Kandara mandala madhyaye
|
Purnachandrika
|
Adi
|
Krithi
|
|
Kannan manivarnam
|
Kharaharapriya
|
Rupaka
|
Krithi
|
|
Kapalinam vande
|
Hindustani Kapi
|
Misra Chapu
|
Krithi
|
|
Karangulina Khotparana
|
Harikamboji
|
Ata
|
Krithi
|
|
Kartyayani skandajanani
|
Devamanohari
|
Adi
|
Krithi
|
|
Kausamba vasanopathe
|
Karnataka Kapi
|
Chapu
|
Krithi
|
|
Khanda Paradsive
|
Yadukulakambhoji
|
Adi
|
Krithi
|
|
Kripanidhe
|
Hamsanandam
|
Misra Chapu
|
Krithi
|
|
Kripasagara
|
Madhavamanohari
|
Adi
|
Krithi
|
|
Lalataksha namosthuthe
|
Natta
|
Adi
|
Krithi
|
|
Lambodara sodara
|
Mecha Kalyani
|
Eka
|
Krithi
|
|
Lambodhara Mahaganesa
|
Navarasa Kannada
|
Misra Chapu
|
Krithi
|
|
Madhu kaitabha
|
Arabhi
|
Rupaka
|
Krithi
|
|
Madjurapura nayike
|
Chakravakam
|
Adi
|
Krithi
|
|
Mahabala girisam
|
Saranga
|
Chapu
|
Krithi
|
|
Mahabaladri nilaye
|
Ramapriya
|
Adi
|
Krithi
|
|
Mahabaleswara vibho
|
Saranga
|
Rupaka
|
Krithi
|
|
Mahadevam
|
Narayani
|
Adi
|
Krithi
|
|
Mahaganapathe dehi
|
Malahari
|
Rupaka
|
Krithi
|
|
Maharajani mahalakshmi
|
Amritavarshini
|
Triputa
|
Krithi
|
|
Mahatripura Sundar
|
Purnachandrika
|
Rupaka
|
Krithi
|
|
Mahavishnusodari
|
Anandabhairavi
|
Adi
|
Krithi
|
|
Mahishasura
|
Andolika
|
Adi
|
Varna
|
|
Manadira kisainda
|
Sankarabharanam
|
Adi
|
Krithi
|
|
Manamadanguvade
|
HanumaThodi
|
Adi
|
Krithi
|
|
Manamu kavalannu
|
Sahana
|
Rupaka
|
Krithi
|
|
Manas sastvasraye
|
Shanmukhapriya
|
Adi
|
Krithi
|
|
Manasija janaka
|
Panchamam
|
Adi
|
Krithi
|
|
Manasukaragi
|
Megharanjini
|
Adi
|
Krithi
|
|
Mangalam pongidum
|
Maand
|
Adi
|
Krithi
|
|
Mangalaroopiniye
|
Jonpuri
|
Adi
|
Krithi
|
|
Manonmani
|
Subhapanthuvarali
|
Adi
|
Krithi
|
|
Mantrini matangatanaye
|
Hemavathi
|
Adi
|
Krithi
|
|
Marakathamanichaye
|
Saindhavi
|
Rupaka
|
Krithi
|
|
Mavoor valar maharani
|
Jonpuri
|
Adi
|
Krithi
|
|
Mavur valamperuga
|
Sindhubhairavi
|
Adi
|
Krithi
|
|
Meenalochani Amba
|
HanumaThodi
|
Rupaka
|
Krithi
|
|
Moovasaikonde
|
Kharaharapriya
|
Adi
|
Krithi
|
|
Mrigapane
|
Bhairavi
|
Rupaka
|
Krithi
|
|
Mrithuynjayam mridam
|
Ramapriya
|
Khanda Chapu
|
Krithi
|
|
Mula prakrithi rupe
|
Saveri
|
Adi
|
Krithi
|
|
Muruganukku oeru
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Na punyamu gada
|
Keeravani
|
Adi
|
Krithi
|
|
Namo hirayana
|
Mangalakaisiki
|
Adi
|
Krithi
|
|
Nava lavanya rupadhaye
|
Hindolam
|
Rupaka
|
Krithi
|
|
Navakshara manusutha
|
Navarathnavilasam
|
Adi
|
Krithi
|
|
Navaratrotsava
|
Alankari
|
Rupaka
|
Krithi
|
|
Navavarana sampoojaye
|
Guharanjini
|
Adi
|
Krithi
|
|
Nee padamulanu
|
Natabhairavi
|
Adi
|
Krithi
|
|
Needu mahima
|
Hamsanandi
|
Adi
|
Krithi
|
|
Ni bhaianana
|
Kambhoji
|
Adi
|
Krithi
|
|
Ni padame gathiyanu
|
Bhairavi
|
Adi
|
Krithi
|
|
Nilalohita
|
Malavi
|
Adi
|
Krithi
|
|
Nilayatakshi nive
|
Vijayasree
|
Rupaka
|
Krithi
|
|
Ninnu nammi nanu
|
Abhogi
|
Eka
|
Krithi
|
|
Nityakinne nishkalanke
|
Nattakurinji
|
Adi
|
Krithi
|
|
Pachiyana turumeni
|
HanumaThodi
|
Adi
|
Krithi
|
|
Panchasyayane
|
Kaanada
|
Khanda Chapu
|
Krithi
|
|
Panchavakthramasraye
|
Hamsadeepakam
|
Adi
|
Krithi
|
|
Pankajanabam
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Parama mangalate
|
Dvijayanti
|
Chapu
|
Krithi
|
|
Paramapavanane
|
Megharanjini
|
Rupaka
|
Krithi
|
|
Paramapurusha
|
Paadi
|
Adi
|
Krithi
|
|
Parasu hasthaya
|
Navarasa Kannada
|
Rupaka
|
Krithi
|
|
Paripurna paratpara
|
Kuntalavarali
|
Adi
|
Krithi
|
|
Pasupathe namosthuthe
|
Saindhavi
|
Adi
|
Krithi
|
|
Pasupathi padasevaname
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Pasupathimugram
|
Arabhi
|
Khanda Chapu
|
Krithi
|
|
Pasupatipriya sati
|
Pasupatipriya
|
Rupaka
|
Krithi
|
|
Pinakine maha prabhave
|
Brindavanasaranga
|
d
|
Krithi
|
|
Purandara vinuthe
|
Purvikalyani
|
Triputa
|
Krithi
|
|
Purarthaye namo
|
Hindolam
|
Adi
|
Krithi
|
|
Purusham pushadante
|
Devamanohari
|
Adi
|
Krithi
|
|
Rajarajeswari
|
Garudadhwani
|
Adi
|
Krithi
|
|
Rathnabhushani
|
Yadukulakambhoji
|
Adi
|
Krithi
|
|
Ratnakanjukadarini
|
Kambhoji
|
Misra Chapu
|
Krithi
|
|
Rohineeyam
|
Surutti
|
Khanda Chapu
|
Krithi
|
|
Rundamala lasat
|
Bhushavali
|
Adi
|
Krithi
|
|
Sachamara Ramavani
|
Hamsanandi
|
Rupaka
|
Krithi
|
|
Sachidananda vigrahe
|
Devagandhari
|
Chapu
|
Padam
|
|
Sahajaguna Rama
|
Sankarabharanam
|
Adi
|
Krithi
|
|
Sahasra sirsha
|
Sudha Lalitha
|
Jhampa
|
Krithi
|
|
Sahasrakara manadithe
|
Vachaspathi
|
Adi
|
Krithi
|
|
Sahasraksham sambhavam
|
Nayaki
|
Rupaka
|
Krithi
|
|
Sahasrapadam
|
Kedaram
|
Misra Chapu
|
Krithi
|
|
Sainapriya Sivasankara
|
Sama
|
Adi
|
Krithi
|
|
Sakala sampatprade
|
Ritigaula
|
Jhampa
|
Krithi
|
|
Saketha Bhupathe
|
Mukhari
|
Adi
|
Krithi
|
|
Sakthi Vinayaka
|
Sriranjini
|
Adi
|
Krithi
|
|
Samayamide nannu
|
Budhamanohari
|
Adi
|
Krithi
|
|
Sampathprade
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Sankara gangadhara
|
Sudha Saveri
|
Adi
|
Krithi
|
|
Sankarisathodari
|
Gaula
|
Adi
|
Krithi
|
|
Sannutangi
|
Vasantha
|
Adi
|
Varna
|
|
Sarasakshi ni
|
Mecha Kalyani
|
Ata
|
Krithi
|
|
Sarasamukhi
|
Garuda Malhar
|
Adi
|
Krithi
|
|
Saraswatidevi
|
Saraswati Manohari
|
Rupaka
|
Krithi
|
|
Saravanabhava
|
Pasupatipriya
|
Adi
|
Krithi
|
|
Sarva mangala rupadhye
|
Paras
|
Misra Chapu
|
Krithi
|
|
Sarvajna Samba
|
Ravichandrika
|
Rupaka
|
Krithi
|
|
Sarvjagatvyapanam
|
Manorama
|
Adi
|
Krithi
|
|
Sasisekhara
|
Purnachandrika
|
Adi
|
Krithi
|
|
Sathvikam sankaram
|
Amritavarshini
|
Khanda Chapu
|
Krithi
|
|
Satideviye
|
Shanmukhapriya
|
Adi
|
Krithi
|
|
Sharanam vijaya
|
Vijayasaraswati
|
Adi
|
Krithi
|
|
Siddhi Vinayakom
|
Mohanakalyani
|
Adi
|
Krithi
|
|
Sikhivahana
|
Hamsadeepakam
|
Adi
|
Krithi
|
|
Simhavahana Amba
|
Simhavahini
|
Rupaka
|
Krithi
|
|
Siva mahasena janaka
|
Vasantha
|
Khanda Chapu
|
Krithi
|
|
Siva siva sambho
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Sivam vrishbharudram
|
Mohanakalyani
|
Khanda Chapu
|
Krithi
|
|
Sivapriya
|
Sriranjini
|
Rupaka
|
Krithi
|
|
Sivaramaya sugunalaya
|
Keeravani
|
Rupaka
|
Krithi
|
|
Somasundara
|
Sarasangi
|
Adi
|
Krithi
|
|
Somasuryagni
|
Hamsanandi
|
Misra Chapu
|
Krithi
|
|
Sri Anjaneya
|
Jaymanohari
|
Adi
|
Krithi
|
|
Sri bhargavam
|
Sri
|
Adi
|
Krithi
|
|
Sri bhavamchinmayam
|
Garudadhwani
|
Misra Chapu
|
Krithi
|
|
Sri karijaya
|
Sri
|
Adi
|
Krithi
|
|
Sri mahabala saila
|
Sudha Saveri
|
Adi
|
Varnam
|
|
Sri Mahaganapathe
|
Kambhoji
|
Ata
|
Varnam
|
|
Sri Mahishasuramardini
|
Hamsagamani
|
Rupaka
|
Krithi
|
|
Sri Parameswara
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Sri Raghuvara chinmaya
|
Nayaki
|
Adi
|
Krithi
|
|
Sri Raja Raja varade
|
Saurashtram
|
Rupaka
|
Krithi
|
|
Sri rajamatangi
|
Udayaravichandrika
|
Adi
|
Varna
|
|
Sri Rama kodandarama
|
Bhairavi
|
Misra Chapu
|
Krithi
|
|
Sri Sailabrahmambika
|
Kamalamanohari
|
Rupaka
|
Krithi
|
|
Sri Sambasiva sadguru
|
Gurupriya
|
Khanda Chapu
|
Krithi
|
|
Sri Sambasivaiya
|
Suryakantham
|
Rupaka
|
Krithi
|
|
Sri Shuba Devi
|
Jaganmohini
|
Rupaka
|
Krithi
|
|
Sri Sive jaya vaibhave
|
Abhogi
|
Adi
|
Krithi
|
|
Sri trilokesam
|
Saveri
|
Khanda Chapu
|
Krithi
|
|
Sri Virabhadram
|
Kannada
|
Adi
|
Krithi
|
|
Sri Virupaksha
|
Gauri
|
Khanda Chapu
|
Krithi
|
|
Sri Vishweswara
|
Harikamboji
|
Adi
|
Krithi
|
|
Srichakrapuravasini
|
Gamanasrama
|
Adi
|
Krithi
|
|
Srichakravara
|
Janaranjani
|
Adi
|
Krithi
|
|
Srikanda dayanide
|
Malavi
|
Rupaka
|
Krithi
|
|
Srikantha dayanidhe
|
Salaga Bhairavi
|
Rupaka
|
Krithi
|
|
Srimad Simhasaneswari
|
Sudha Saveri
|
Adi
|
Krithi
|
|
Srimad Tripurasundari
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Srirama jayabhauma
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Srisa raravanabhavuni
|
Sumanpriya
|
Adi
|
Krithi
|
|
Sritrayimurte
|
Jayanarayani
|
Rupaka
|
Krithi
|
|
Sudhamayi sudhanidhi
|
Amritavarshini
|
Rupaka
|
Krithi
|
|
Sukshmathanum
|
Hindola Vasantha
|
Khanda Chapu
|
Krithi
|
|
Suryacharagni
|
Sriranjini
|
Rupaka
|
Krithi
|
|
Tappa mannisotaye
|
Mayapradeepa
|
Adi
|
Krithi
|
|
Tappulanaiyu
|
Bauli
|
Rupaka
|
Krithi
|
|
Taraka nama
|
Mayamalavagaula
|
Adi
|
Krithi
|
|
Teliyakane
|
Huseni
|
Rupaka
|
Krithi
|
|
Thaiyidhathil anbiiatha
|
Jonpuri
|
Eka
|
Krithi
|
|
Tharakamsivan
|
Sriranjini
|
Adi
|
Krithi
|
|
Thim Thathim
|
Hamsanandi
|
Adi
|
Tillana
|
|
Thodu nida nive
|
Punnagavarali
|
Adi
|
Krithi
|
|
Thom tha thom
|
Kaanada
|
Adi
|
Thillana
|
|
Thyagaraja sadguruvai
|
Hindolam
|
Adi
|
Krithi
|
|
Tripuranthaka deva
|
Hindusthani Behag
|
Adi
|
Krithi
|
|
Umadeva mahanubhava
|
Mohana
|
Adi
|
Krithi
|
|
Urraya Avyak taya
|
Dharmavathi
|
Rupaka
|
Krithi
|
|
Vageeswari
|
Saraswati
|
Adi
|
Krithi
|
|
Vajresi mathe
|
Andolika
|
Adi
|
Krithi
|
|
Valli nayaka
|
Shanmukhapriya
|
Adi
|
Krithi
|
|
Vanchadomune
|
Karnaranjini
|
Triputa
|
Krithi
|
|
Vani nityakalyani
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Saraswati Manohari
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Adi
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Krithi
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Vaninivasini
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Kedaram
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Rupaka
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Krithi
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Vedamathe vedavinuthe
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Natta
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Adi
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Krithi
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Vijayambika
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Vijayanagari
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Adi
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Krithi
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Vindhyachala nivasini
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Narayanagaula
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Triputa
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Krithi
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Vyomakesam namami
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Andolika
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Triputa
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Krithi
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Yagnamayum Sankaran
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Bhavapriya
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Rupaka
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Krithi
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Yogini Ganasevitha
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Vanaspathi
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Adi
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Krithi
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Koteeswara
Iyer (1870 - 1940) Biography and Works
Biography
Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi Raaga-s.
Koteeswara Iyer was born into a music famly. His grand father was the famous poet and composer Kavikunjara Bharati, a contemporary of the trinity. Koteeswara Iyer was initially trained by his grand father. Later he was trained by Ramnad Sreenivasa Iyengar and then by Patnam Subramania Iyer. Koteeswara Iyer's mudra, Kavi Kunjaradasan, shows his respect for his grand father, Kavikunjara Bharati.
Koteeswara Iyer penned over 200 compositions. He also composed a krithi in each of the 72 mela-s and published them in his book Kandha Gaanamritham. But he is well known for his Vivaadi raaga krith-s like Mohanakara (Neethimathi), Ma madhura sarasa (Ganamurthi) and Singara Kumari (Varunapriya). Famous vocalist S. Rajam is one of the artists who has sung a lot of Koteeswara Iyer krithi-s and popularized them
Teachers & Influences: Patnam Subramanya Iyer, Ramnad Sreenivasa Iyengar
Mudra: Kavi Kunjaradasan
Genre Carnatic: Krithi
Languages used: Tamil, Telugu
Compositions:
Adum azhaginile Kosalam Adi Krithi
Alagade Hatakambari Adi Krithi
Amboruha padame Natabhairavi Rupaka Krithi
Ananda rakshaka Jhalavarali Adi Krithi
Andharanga bhakthi Shadvidhamargini Adi Krithi
Anjaade Pavani Misra Chapu Krithi
Appa Muruga Divyamani Adi Krithi
Appane kapali HanumaThodi Rupaka Krithi
Arul shaiya Rasikapriya Adi Krithi
Ayyane atkol Kambhoji Triputa Krithi
Dasanena Gukasena Vanaspathi Adi Krithi
En maname Namanarayani Adi Krithi
Enai alayya Sankarabharanam Adi Krithi
Ganamudham Salagam Adi Krithi
Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi
Ghananayadesika Rishabhapriya Adi Krithi
Gitamudame Madhyamavathi Adi Krithi
Iha para sukha Suvarnangi Rupaka Krithi
Vachaspathi Rupaka Krithi
Isan Kanakasabhesan Begada Adi Krithi
Ka guha Shanmukha Kosalam Rupaka Krithi
Kaana kankodi vendum Chakravakam Rupaka Krithi
Kada bhakthachintamani Dharmavathi Misra Chapu Krithi
Kaikuda Latangi Jhampa Krithi
maname Ragavardhini Rupaka Krithi
Kali teera vandarul HanumaThodi Misra Chapu Krithi
Kanaka Mayura Jalarnavam Adi Krithi
Kanakangaka Kanakangi Adi Krithi
Kanakavela karunalavela Sri Adi Krithi
Kandaga karpaga taruve Syamalangi Misra Chapu Krithi
Kanjam konjam Suryakantham Rupaka Krithi
Kanparaiyya Kharaharapriya Rupaka Krithi
Karunai Kadale Dhenuka Adi Krithi
Karvaya kanda Dhavalambari Rupaka Krithi
Ma madhura sarasa Ganamurthi Adi Krithi
Mahaganapathe Kaanada Adi Krithi
Malaiyate maname Sarasangi Rupaka Krithi
Manade maravade Hemavathi Rupaka Krithi
Mane moham Saveri Adi Varnam
Mangalam mayitvaham Surutti Adi Krithi
Manojanaimaruganai Gaula Adi Krithi
Mohanakara Neethimathi Rupaka Krithi
Nada nilai Gayakapriya Jhampa Krithi
Nadanuasantanaa Vagadheeswari Adi Krithi
Nadasukham Kanthamani Adi Krithi
Nalagude Rupavathi Adi Krithi
Nambinen Aiyya Vakulabharanam Adi Krithi
Nan enna seyven Mayamalavagaula Adi Krithi
Nayen unaye Naganandini Adi Krithi
Neeye gati en thaye Harikamboji Adi Krithi
Ni than appa Charukesi Adi Krithi
Nijabhaktim Manavathi Rupaka Krithi
Ninnaikanome Gangeyabhushani Rupaka Krithi
Paramananda Vishwambhari Rupaka Krithi
Sulini Adi Krithi Parayunul Gaurimanohari Adi Krithi
Rama ravikulasoma Bhairavi Adi Krithi
Ranjitha kavi Sudha Saveri Rupaka Krithi
Sadanamndame Mecha Kalyani Adi Krithi
Sadananda Raghupriya Rupaka Krithi
Samaganalola Chitrambari Misra Chapu Krithi
Sambhosankara Mecha Kalyani Triputa Krithi
Sami Dikshita Devamanohari Rupaka Krithi
Sami ide nallsamayam Navaneetham Rupaka Krithi
Sami sadamuda Ramapriya Adi Krithi
Samidesamayam Kedaragaula Rupaka Krithi
Sanbho sadasiva Yagapriya Adi Krithi
Shentiruvelan Bhavapriya Adi Krithi
Singara Kumari Varunapriya Adi Krithi
Sri Venugopaladeva Darbar Jhampa Krithi
Sukha Vazhve Kokilapriya Rupaka Krithi
Sukhakara Dhatuvardhini Adi Krithi
Sukhame sukham Shanmukhapriya Adi Krithi
Tandi mamukha Natta Adi Krithi
Thandarul ayya Nasikabhushani Misra Chapu Krithi
Tharuve nin arul Varali Misra Chapu Krithi
Ullam ariyada Sriranjini Adi Krithi
Unnaiyillal Simhendramadhyamam Adi Krithi
Va velava va Tanarupi Jhampa Krithi
Vaaranamukha va tunai Hamsadhwani Rupaka Krithi
Varnam tarum Jhankaradhwani Misra Chapu Krithi
Velaiya dayi Saveri Adi Krithi
Velanai vere gathi Subhapanthuvarali Misra Chapu Krithi
Velava va adiyen Arabhi Rupaka Krithi
Velave va Keeravani Jhampa Krithi
Velu mayilu me Sucharitra Rupaka Krithi
Viraraghava Gavambodhi Adi Krithi
Yedum ariyene Sahana Jhampa Krithi
Wednesday, August 15, 2007
Subramania
Bharathi (1882-1921) Biography And Works
Biography
Subramania Bharathi
was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in 1882 at Ettayapuram. He lost
his mother at the age of 5. He learnt music from very young age and at 11 and
was invited to a conference of Ettayapuram court poets and musicians for
composing poems and songs. He accepted a challenge and composed a chindu on the
model of kaavadi chindu of Annaamalai Reddiyaar. There he was given the title
'Bhaarati' for his ability to compose poems and songs.
At the age of 15 he
married Cellammaal and in 1898 lost his father. At 22, he became Tamil teacher
at Setupati High School in Madurai and the same year was appointed Assistant
Editor of a daily newspaper called "Swadesamitran." In 1906, he was
editor of a weekly magazine called "India" in Madras and the next
year a friend of his, Krishnaswaamy Aiyyar received from him songs he had
composed on patriotism and published them, titled "SudEsa geetangaL."
In 1908 the government wanted to arrest him, but he escaped to PonDicerry
(under French rule) and published "India" from there.
In 1912 he
translated the Bhagavad Geeta into Tamil and composed songs on Krishna (KaNNan
PaaTTu), "Kuyil," and "Pancaali Shabadam" (on Draupadi of
the Mahaabhaarata).
His national
integration songs earned him the title "DEsiya Kavi" (National
Poet).His patriotic songs emphasize nationalism, unity of India, equality of
man and the greatness of the Tamil language. He sang these himself at Congress
meetings at the Madras beach. He composed tamil keertanais on love,
devotion,fearlessness, mysticism.
His stepbrother
C.Vishwanaata Aiyyar and V.V.S. Aiyyar tell us that he himself set his songs to
music and could sing them well in a variety of raagams. In "Bharata
dEviyin tiru dasangam" he used 10 raagams.
In an article
"Sangeeta Vishayam" (Issues in Music), Bhaaratiyaar rebukes musicians
PaTnam Subramania Aiyyar and others for singing songs of the Trinity, without
knowing the meaning because the songs are all in Sanskrit or Telegu. According
to him, without knowing the meaning, singers are unable to sing with proper
expression. He also saysthat songs usually portray devotion and love and not
other emotions like courage, anger, wonder,fear, and hatred. He emphasized that
musicians should not sing songs which they don't understand and should learn
from Hindustani musicians how to train their voices.
He died in an
accident on September 11, 1921 at the age of just 39.
Compositions:
Appavum ponnadi
Jaymanohari Adi Krithi
Bharatha samudayam
Hindusthani Behag Eka Padam
Chinna chiru kiliye
Bhairavi Rupaka Krithi
Dikkuteriyada
HanumaThodi Adi Krithi
Endaiyam tham
Kambhoji Adi Krithi
Jayamundu
bhayamillai Khamas Adi Krithi
Jiva padagai
Anandabhairavi Adi Krithi
Jnanappal arulvai
Saramati Adi Krithi
Kaathirukunren Sama
Adi Krithi
Kanavendamo Sri
Rupaka Krithi
Kanene en kanavan
Mecha Kalyani Adi Krithi
Kanika kondutaram
Varali Eka Krithi
Karumbu thottathile
Saindhavi Misra Chapu Krithi
Malai pozhidil
Nadanamakriya Adi Krithi
Mannar kulathinadi
Nadanamakriya Adi Krithi
Muruga Muruga
Nattakurinji Adi Krithi
Nenjukku neethi
Sindhubhairavi Adi Krithi
Neram mikandidu
Nadanamakriya Adi Krithi
Nithyamunai vendi
Chakravakam Eka Krithi
Pillai prayathile
Saraswati Manohari Eka Krithi
Sakthi tanake
Bhoopalam Eka Krithi
Thanjamulakinil
Punnagavarali Adi Krithi
Ujjaiyini Hindolam
Adi Krithi
Umayirundavar
Kambhoji Adi Krithi
Unnai yenamayil
Kharaharapriya Adi Krithi
Vandadum cholai
Harikamboji Adi Krithi
Veene
Sheshanna (1852-1926) Biography
Biography
Veene sheshanna is perhaps the most famous musician of the Mysore
royal court and proponent of the famous Mysore Bani i.e. school of veena
playing. He also represents the times when Mysore royal court was the cultural
capital of the south.
Born into a family of musicians, he learnt from his father Bakshi Chikka Ramappa who was the court musican in the court of the Mysore king of the time Mummadi Krishnaraja Wodeyar. He was a child prodigy and gained acceptance of the court even at the age of just ten. Later he learnt vocal music under the famous vocalist Mysore Sadashiva Rao.
Apart from Veena, he was adept at playing many instruments like piono, sitar and violin. He also learnt Hindustani music and even western classical. He was also a composer.
HISTORY
OF CARNATIC MUSIC
HISTORY OF CARNATIC
MUSIC
The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.
THE ANCIENT PERIOD (Vedic period - 4th Century AD)
This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:
Vedas:
* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).
* Several references to music of musical instruments are seen in the Vedas.
* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.
* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.
* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.
* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.
Bharata's Natyasastra (The 2nd - 4th century AD)
This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.
Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).
In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).
MEDIEVAL PERIOD (5th - 16th Century AD)
During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.
* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.
* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.
* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.
* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.
Sangeeta Ratnakara
An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.
Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.
Musical Forms
This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.
Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.
In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music
MODERN PERIOD (17th century to present day)
The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.
Theoretical aspects
The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).
By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.
While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.
Practical aspects
In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)
Musical concepts
The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.
Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.
Music Education
The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.
The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.
The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.
THE ANCIENT PERIOD (Vedic period - 4th Century AD)
This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:
Vedas:
* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).
* Several references to music of musical instruments are seen in the Vedas.
* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.
* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.
* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.
* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.
Bharata's Natyasastra (The 2nd - 4th century AD)
This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.
Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).
In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).
MEDIEVAL PERIOD (5th - 16th Century AD)
During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.
* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.
* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.
* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.
* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.
Sangeeta Ratnakara
An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.
Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.
Musical Forms
This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.
Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.
In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music
MODERN PERIOD (17th century to present day)
The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.
Theoretical aspects
The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).
By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.
While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.
Practical aspects
In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)
Musical concepts
The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.
Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.
Music Education
The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.
The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.
Thursday, August 16, 2007
Jayachamaraja
Wodeyar (1919 - 1974) Biography and Works
Biography
Jayachamaraja Wodeyar
was one of the rare Kings who was also an important musicologist and composer.
Perhaps he was following the example set by Travancore king - composer Swati
Tirunal and the last Mughal emperor - ghazal poet Bahadur Shah Zafar .
Jayachamaraja
Wodeyar was born in Mysore on 18th
July, 1919 as the son of Kanteerava Narasimharaja
Wodeyar. He received traing from ashtana vidhwans in all arts and sciences.
Mysore kings were great patrons of art and music. They had in their court great
musicians from all over India, both Carnatic and Hindustani.
Jayachamaraja Wodeyar
ascended to the throne in 1940, after the death of Chamaraja Wodeyar IV and ruled till 1950, when
he handed over the state to the Indian republic, ending 550 years of Wodeyar rule. But,
he continued to be the constitutional head of Mysore state as the Raja Pramukh (1950-56), till the post was
abolished. He was then the first governor of Mysore state (1956-65) and also Madras state (1964-67).
As a great patron
of music, he had several artists in his court - Tiger
VaradachariarMysore Vasudevachar, Muthaiah Bhagavathar, Gotuvadyam Narayana Iyengar and Ariyakudi Ramanuja Iyengar.
Jayachamaraja Wodeyar composed about 90
krithi-s in Sanskrit, some in rare raaga-s like Bhogavasanta, Durvangi. He had
great interest in western music too. He was the recipient of D.Lit from
Queensland University, Australia, Doctor of Law from Banaras University, and
D.Lit from Annamalai University. He was honorary Fellow of Trinity College of
Music, London, in the year 1945.
Mudra: Shrividhya
Genre Carnatic: Krithi, Varna
Genre Carnatic: Krithi, Varna
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Languages used:
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Sanskrit
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Compositions:
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Ambujakshi
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Simhavahini
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Rupaka
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Krithi
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Balakrishnam
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Nilaveni
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Adi
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Krithi
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Bhajare mohana
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Bhanuchandrika
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Rupaka
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Krithi
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Bhooribhagyalahari
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Pratapavarali
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Adi
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Krithi
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Brahmananda valaye
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Maand
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Triputa
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Krithi
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Chintayami Jagadambha
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Hindolam
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Adi
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Krithi
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Chinthaye sada
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Sindhuramakriya
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Adi
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Krithi
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Chintyami santhanama
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Varunapriya
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Adi
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Krithi
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Devi Jadambika
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Vasantha Bhairavi
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Khanda Jhampa
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Krithi
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Devi Sri Meenakshi
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Chakravakam
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Triputa
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Krithi
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Gam Ganapathi
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Durvangi
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Triputa
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Krithi
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Gamganapathe sada
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Nagasvaravali
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Adi
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Krithi
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Kamakshi pahi mam
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Shivakambodi
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Khanda Triputa
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Krithi
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Kshirasagara
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Mayamalavagaula
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Dhruva
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Krithi
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Manavathim
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Kokilapriya
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Adi
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Krithi
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Matanga kanyam
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Sudha Thodi
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Khanda Triputa
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Krithi
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Mrithunjayam
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Ragavardhini
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Triputa
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Krithi
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Nadarupini vandeham
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Kokilapanchamam
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Adi
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Krithi
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Nagalinga Maheswaram
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Sankarabharanam
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Rupaka
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Krithi
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Neelakantam Mahadevam
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Purvikalyani
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Misra Triputa
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Krithi
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Pahi mam
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Supradeepa
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Adi
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Krithi
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Pahimam Sitarama
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Hindola Desika
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Adi
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Krithi
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Pahimam Sri
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Jayasamavardhani
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Khanda Triputa
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Krithi
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Pahimam Sri Parameswari
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Hindola Durbar
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Rupaka
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Krithi
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Paripahi mam
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Subhapanthuvarali
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Adi
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Krithi
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Rajarajeswarim
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Balachandrika
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Khanda Triputa
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Krithi
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Saraswathim bhagavathim
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Hamsavinodhini
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Khanda Chapu
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Krithi
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Sri Chakrapurvasini
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Sudha Lalitha
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Adi
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Krithi
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Sri Gayatri
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Gamanasrama
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Druva
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Krithi
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Sri Jalandhara masrayamyaham
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Gambhiranatta
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Adi
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Krithi
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Sri Nagalingam
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Vachaspathi
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Jhampa
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Krithi
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Sri Ranganathani
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Kalyanavasantham
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Jhampa
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Krithi
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Sri vidya lalitham
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Nadabrahma
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Adi
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Krithi
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Sri Vidyamodini
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Kokilabhashini
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Tisra Triputa
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Krithi
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Sri Vidyapati
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Lalitha Panchamam
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Adi
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Krithi
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Srichamundeswari
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Kannada
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Adi
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Krithi
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Srilalitham maha
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Nagadhvani
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Khanda Triputa
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Krithi
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Suranandinee
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Suranandini
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Adi
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Krithi
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Suvarnangi
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Suvarnangi
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Misra Jhampa
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Krithi
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Swaminatha palaya
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Charukesi
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Triputa
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Krithi
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Vandeham Sive
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Kathanakuthuhalam
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Matya
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Krithi
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Vandehamsada
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Hamsanatini
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Adi
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Krithi
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Vijayatam sagare
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Vishwambhari
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Triputa
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Krithi
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Vimalambike paripahim
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Vijayavasantha
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Adi
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Krithi
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Papanasam
Shivan (1890 - 1973) Biography and Works
Biography
Papanasam Shivan is
the most important Carnatic Composer in Tamil. He has composed over two
thousand songs in seventy five raaga-s. He is known as Tamil Thyagaraja.
Papanasam Shivan
was born in 1890
in Polaham, Tanjavur district. His real name was Polagam Ramaiah.
His father passed away very early, forcing his mother to move to
Thiruvananthapuram. Papanasam Shivan studied Sanskrit at Maharajah's college.
His musical training was mostly informal. He was guided and influenced by
Neelakanta Sivan and Konerirajapuram Vaidyanatha Iyer. The limited formal
training he had was from Samba Bhagavatar and Mahadeva Bhagavatar. He also
never had any formal training in Tamil.
He was a teacher at
Kalakshetra for sometime. During that time he got a big break and started
working for the Tamil music indutry. About 800 of his compositions would be for
the film industry. He is perhaps the only Carnatic composer to have so
extensively worked for the film industry. Papanasam Shivan's carnatic
compositions were mostly spontaneous and noted down by others. His compositions
were mostly in Tamil, even though he has some Sanskrit compositions. In 1972 he was awarded,
belatedly, Sangeetha Kalanidhi by Madras Music academy.
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Mudra: Ramadasan
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Genre Carnatic: Krithi, Varna, Thillana
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Languages used: Tamil,
Sanskrit
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Compositions:
Composition
Raaga-Taala-Type
abhayAmbikA ramaNa
shankarAbharaNa-Adi-krithi
adbhuta lIlaigaLai
madhyamAvati-Adi-krithi
aDimai ennai
mukhAri-rUpaka-krithi
aDimai mEl
nATa-Adi-krithi
aDimaiyin uLLa (kaNNigaL)
vasantA-Adi-krithi
aDimalariNai
paraju-Adi-krithi
aDittAlum unai
nATa-Adi-krithi
ADiya pAdattai
kAmavardhini-Adi-krithi
ADum deivam
kAmbhOji-Adi-krithi
AduvOm vArungaL
kEdAra-Adi-krithi
aiyA nin
bilahari-Adi-krithi
aiyan tiruvaDiyai
rAgam: pUrvikalyANi-Adi-krithi
aiyappanai paNivOm
Arabhi-Adi-krithi
akhilANDa nAyaki
shankarAbharaNa-Adi-krithi
akhilANDeshvari
shri-Adi-krithi
aLavilAda Anandam
bhairavi-Adi-krithi
aLavillaiyE
mukhAri-dEshAdi-krithi
amalE amarargaL (bhajan)
kuntalavarALi-Adi-krithi
ambA manam
kAmavardhini-Adi-krithi
ambA un mEl
behAg-Adi-krithi
ambA un pAdam
gambhIranATa-Adi-krithi
ambA unaiyE
shankarAbharaNa-dEshAdi-krithi
Ananda naTamADum ayyan
shuddhadhanyAsi-rUpaka-krithi
Ananda naTamiDum
kEdAragauLa-Adi-krithi
Anandabhairavi anaiyum
Anandabhairavi-Adi-krithi
AnandamE paramAnandamE
kAmbhOji-Adi-krithi
anbilaiyE
khamAs-rUpaka-krithi
ANDavan anbE shakti
shivaranjani-Adi-krithi
ANDavan nIyE
mAyAmALavagauLa-Adi-krithi
ANDavanai nambu
sAma-Adi-krithi
ANDavanE unai
SaNmukhapriya-rUpaka-krithi
anjalenrE
rAgam: bilahari-Adi-krithi
annaiyin kAlil
rAgamAlikA-Adi-krithi
annaiyum tandaiyum
kApi-Adi-krithi
anudinamunai
madhyamAvati-Adi-krithi
appan avataritta
kharaharapriyA-Adi-krithi
appanum ammaiyum
aThANA-Adi-krithi
AraNa poruLE
dEvagAndhAri-Adi-krithi
AraNamum Agamum
kharaharapriyA-jhampa-krithi
aruL puri
sarasvati-Adi-krithi
arumukhA
shuddhasAvEri-Adi-krithi
aruT-tivilai
rAgam: husEni-Adi-krithi
attaruNam
bhairavi-Adi-krithi
avAng manasa
cakravAka-Adi-krithi
bAla pAhi
nIlAmbari-Adi-krithi
bAlakrSNa mAm pAhi
sAvEri-Adi-krithi
bAlakrSNan
dhanyAsi-rUpaka-krithi
bAlasubramaNya
kEdAragauLa-rUpaka-krithi
bhAgavatOttama
behAg-Adi-krithi
bhajanai sheivAi
behAg-Adi-krithi
bhajanai sheivOm
naTabhairavi-Adi-krithi
bhArata mAtA
naTabhairavi-Adi-krithi
bhArata puNya bhUmi
kuntalavarALi-Adi-krithi
bhUmiyil mAniDa (kaNNigaL)
sindhubhairavi-Adi-krithi
bhuvana patI
kAmbhOji-Adi-krithi
bhuvanEshvari pAdam
bEgaDa-rUpaka-krithi
bhuvanEshvari pughal
maNirangu-dEshAdi-krithi
bOdhendra gurumUrti
pUrvikalyANi-Adi-krithi
cAmuNDEshvari
sAvEri-Adi-krithi
candra kalAvatam
shankarAbharaNa-Adi-krithi
caraNa pankajam
mAyAmALavagauLa-cApu-krithi
caraNAmbujam
shuddhasAvEri-Adi-krithi
cidambara nAthA
hEmavati-Adi-krithi
cintai teLindu
kalyANi-rUpaka-krithi
cittam irangAdEnaiyyA
shahAnA-cApu-krithi
daNDapANi padam
rAgaA: maNirangu-Adi-krithi
dasharatAtmajam
pUrvikalyANi-rUpaka-krithi
dayAnidhE jAnakIpatE
nATa-Adi-krithi
dayAparan shankaran
kharaharapriyA-Adi-krithi
dayavillaiyA dayALO
kharaharapriyA-Adi-krithi
deivam tuNai
SaNmukhapriyA-Adi-krithi
dEsha sEvai
mAND-Adi-krithi
dEva dEvanai
cenjuruTTi-rUpaka-krithi
dEvadEvan pAdam
khamAs-Adi-krithi
dEvi nin
bEgaDa-Adi-krithi
dEvi nIyE
kIravANi-Adi-krithi
dEvi pAdam
tODi-Adi-krithi
dEvI shrI
kalyANi-Adi-krithi
dEvi undan
mukhAri-Adi-krithi
dharma samvardhani
nATakuranji-Adi-krithi
dhIm tarana (tillAnA)
SaNmukhapriyA-Adi-krithi
dhyAnamE enadu
kApi-Adi-krithi
dikku vErillai
varALi-Adi-krithi
dinam IdE
bhUpALa-Adi-krithi
durgAlakSmi
Arabhi-Adi-krithi
ellAm avan sheyal
tODi-cApu-krithi
ellAm brahmamayam
behAg-Adi-krithi
en manam
simhEndramadhyam-Adi-krithi
enadu manam
harikAmbhOji-Adi-krithi
enadu uLLamE
cenjuruTi-rUpaka-krithi
enda vidam
mukhAri-jhampa-krithi
endai gOvindan
bilahari-Adi-krithi
engum niraindirukkum
kurinji-Adi-krithi
enna sheidAlum
kharaharapriyA-Adi-krithi
enna tavam
kApi-Adi-krithi
ennai kAttaruLvadu
hEmavati-Adi-krithi
ennai shOdanai
kalyANi-cApu-krithi
ennai viTTODAdEDA
mOhana-Adi-krithi
ennALum inda
rAgAmukhAri-Adi-krithi
Enunakkinnum
kApi-Adi-krithi
gajavadana
shrIranjani-Adi-krithi
gAna rasamuDan
bEgaDa-rUpaka-krithi
gaNapatiyE karuNAnidhiyE
kharaharapriyA-Adi-krithi
gAndhijiyAi
hamsadhvani-Adi-krithi
gAndhiyai pOloru
cenjuruTi-Adi-krithi
gangai aNi
tODi-mishra Eka-krithi
garbhavAsam ariyAda
hamsadhvani-Adi-krithi
gati nIyE
sahAnA-Adi-krithi
gati udavum
RAgamAlika-jhampa-krithi
gaurImanOhara
gaurimanOari-Adi-krithi
gOkulam yamunai
dEs-Adi-krithi
gOmati tAyE
yadukulakAmbhOji-Adi-krithi
gOpAla sajjana
dhanyAsi-Adi-krithi
gOpAlanE deivamAm
khamAs-Adi-krithi
grahangaLim
bhairavi-Adi-krithi
guruvAyUrappA
cakravAka-Adi-krithi
haranE innum
karnATakabehAg-Adi-krithi
iDadu padam
khamAs-Adi-krithi
iDaiyarAdun
sahAnA-Adi-krithi
iddaraNiyil
bEgaDa-cApu-krithi
ihaparamenum iru
simhEndramadhyam-Adi-krithi
illai enra
kharaharapriyA-tisra Adi-krithi
inbamenbadu
kAnaDA-Adi-krithi
inda parAmukhamA
mAyAmALavagauLa-rUpaka-krithi
indrajAla (kaNNigaL)
kAmavardhini-Adi-krithi
Ini oru kaNam
shrIranjani-rUpaka-krithi
IshananbAr
kApi-rUpaka-krithi
IshanE inda
cakravAka-rUpaka-krithi
jAnakIpatE
kharaharapriyA-Adi-krithi
jaya bhErikai
kAmbhOji-Adi-krithi
jaya jaya guhA
shuddhadhanyAsi-Adi-krithi
jaya vijayIbhava
mAND-Adi-krithi
jaya vIra
paraju-Adi-krithi
jaya viTThala
bilahari-rUpaka-krithi
jE paNDarIsha
sOhini-Adi-krithi
jnAna sabhaiyil
sArangA-cApu-krithi
jyOti mayamAna (kaNNIgaL)
kuriniji-Adi-krithi
kaDaikkaN nOkki
tODi-Adi-krithi
kaDaikkaN pArvai
khamAs-Adi-krithi
kAdali rAdhaiyai
kharaharapriyA-Adi-krithi
kaDalil amizhndiDuvOm
maNirangu-Adi-krithi
kadir kAma
kAmbhOji-tisra tripuTa-krithi
kai koDuttALaiyyA
bEgaDa-Adi (2 kaLai)-krithi
kailAsacala vAsA
hindOLa-Adi-krithi
kaimmAru sheivaduNDO
kEdAragauLa-Adi-krithi
kAl mAri ADum
dEvamanOhari-dEshAdi-krithi
kali tIrumO
tODi-dEshAdi-krithi
kallAda Ezhai
sAvEri-Adi-krithi
kalpakAmbikA
harikAmbhOji-Adi-krithi
kalpakAmbikai nI
behAg-rUpaka-krithi
kalpakAmbikai uNDu
shuddhasAvEri-khaNDa jhampa-krithi
kalpakAmbikaiyin
rAgam: latAngi-Adi-krithi
kalpakAmbikE shrI
bhairavi-rUpaka-krithi
kalyANi karuNAnidhi
KalyANi-Adi-krithi
kAmAkSi gauri
sAvEri-Adi-krithi
kamala malaridazh
kalyANi-Adi-krithi
kamalAmbA anaiyE
shankarAbharaNa-Adi-krithi
kamalappada malariNai
harikAmbOji-Adi-krithi
kAmAntakA
kApi-Adi-krithi
kAmattai jayikkAdavan
dhanyAsi-cApu-krithi
kAmEshvarA
kalyANi-dEshAdi-krithi
kan manam
surAti-Adi-krithi
kANa Aval
mOhana-Adi-krithi
kANa vENDAmO
shrIranjani-rUpaka-krithi
kANa virumbum
mukhAri-Adi-krithi
kanaka sabhaiyai
hindustAnikApi-rUpaka-krithi
kANakkaN kOTi
kAmbOji-Adi-krithi
kandA vandaruL
AbhEri-Adi-krithi
kanindaruL
kalyANi-tisra Adi-krithi
kanja malaraDi
shankarAbaraNa-Adi-krithi
kaNNA kAttaruL
madhyamAvati-Adi-krithi
kaNNan madhura idazhai
bhImpalAs-Adi-krithi
kaNNan mALigaikkE
aThANA-Adi-krithi
kaNNanai paNi
SaNmukhapriyA-Adi-krithi
kaNNE en kaNmaiyE
kurinji-tisra Adi-krithi
kAntimati annai
kAnaDA-cApu-krithi
kapAli irukka
sAvEri-khanDa jhampa-krithi
kapAli karuNai nidhi
hamsadhvani-Adi-krithi
kApAli karuNai nilavu
mOhana-Adi-krithi
kapAlIshanE
khamAs-Adi-krithi
kAriruLokka
kharharapriyA-Adi-krithi
karpaka manOhara
malayamAruta-khaNDa jhampa-krithi
karpaka vallI
ragamAlikA-Adi-krithi
karpaka valliyin
Arabhi-Adi-krithi
karpakAmbikE
bilahari-rUpaka-krithi
karpakamE
madhyamAvati-Adi-krithi
kArtikEya gAngEya
tODi-Adi-krithi
karuNA nidhiyE
bauLi-tisra tripuTa-krithi
karuNai puri
tODi-Adi-krithi
karuNai sheivAi
hamsadhvani-dEshAdi-krithi
karuNai varumO
cArukEsi-Adi-krithi
karuNakaranE shiva
kIravANi-Adi-krithi
karuNAnidhiyE
kuntalavarALi-Adi-krithi
karuNAnidhiyE kaDaikkaN
kuntalavarALi-Adi-krithi
konjam dayai
shankarAbharaNa-cApu-krithi
kOsalai pudalvanai
rAgamAlikA-Adi-krithi
krSNA mukundA
navarOj-Adi-krithi
krSNa nAma
behAg-dEshAdi-krithi
Muthaiah
Bhagavathar (1877 - 1945) Biography and Works
Biography
Dr. Harikesanallur
Muthaiah Bhagavathar is one of the most important post-trinity composers and an
important vocalist as well.
Muthaiah
Bhagavathar was born to Lingam Iyer and Anamdam
in 1877. After the early death of
his father, he was brought up by his maternal uncle Lakshamana Suri of
Harikesanallur, who taught his Sanskrit, Vedas and music. He got further
musical training from Sambasiva Iyer and his son T. S. Sabesa Iyer, who
belonged to the Thyagaraja shishya parampara.
As a vocalist, his
big break came when in 1887 he sang before Maharaja Mulam Thirunal of Travancore who honoured
him as a court musician. This established him as one of the front ranking
musicians of the time. Later he started giving Harikatha performances, for
which he earned the name Bhagavathar. This was the time he started composing,
which he would use in his Harikatha-s.
The next phase of
his life was as a court musician in Mysore, from 1927. Most of his compositions
were from this period. Initially he composed mostly in Madhyakala, like Shri Tyagaraja.
After 1931, he was influenced by Muthuswamy Dikshitar compositions and started
compoing in vilambita kala. In 1936, he was again invited by Maharani Sethu Parvathi of
Travancore and he spent several years there. during that time, one of his major
contributions was popularising Swati
Tirunal compositions. He was also the first
prinicipal of "Swathi Thirunal Academy
of Music" there.
Apart from being a
vocalist and composer, Muthaiah Bhagavathar was also a learned musicologist. He
was actively involved in the Annual Conference of Experts conducted by The
Music Academy of Madras. In 1930 he was awarded the Sangeetha Kalanidhi by the
academy. He also wrote a book on the science of music, Sangeetha Kalpa Dhruma,
for which he was awarded Degree of Doctorate in 1943
by the Travancore state.
Teachers
& Influences:M. Lakshamana Suri, Sambasiva Iyer, T. S. Sabesa Iyer
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Mudra:
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Harikesha
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Languages used:
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Telugu, Sanskrit
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Genre Carnatic: Krithi
Compositions:
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Adityan Devadidevam
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Mayamalavagaula
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Adi
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Krithi
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Ajam haram Ambikavanam
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Nilambari
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Adi
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Krithi
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Amba mahavani
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Saraswati Manohari
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Khanda Chapu
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Krithi
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Ambavanina
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Keeravani
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Adi
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Krithi
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Anagham akhilandam
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Mandari
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Rupaka
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Krithi
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Anandamana sangeetham
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Kambhoji
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Adi
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Krithi
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Anandapuram haram
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Vijayasree
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Adi
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Krithi
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Ananthapadmanabham
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Malahari
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Rupaka
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Krithi
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Ananthaya sarvaya
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Bauli
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Adi
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Krithi
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Andavan darisanamae
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Jonpuri
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Adi
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Krithi
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Anekatame
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Vijayanagari
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Adi
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Krithi
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Angaraka Mangalamurthye
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Ritigaula
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Rupaka
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Krithi
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Aniswaram abhishekaram
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Charukesi
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Adi
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Krithi
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Anthakasura subane
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Sahana
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Rupaka
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Krithi
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Aparajithe amarasanuthe
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Kannada
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Adi
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Krithi
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Apavarga pradam asraye
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Pasupatipriya
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Adi
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Krithi
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Arrukkum adangada
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Begada
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Adi
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Krithi
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Arya Devi
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Sahana
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Adi
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Krithi
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Astamurthim sishtamurthim
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Gaulipantu
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Misra Chapu
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Krithi
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Athisayavara
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Mandari
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Adi
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Krithi
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Atisundaram avyaktham
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Simhendramadhyamam
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Rupaka
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Krithi
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Avan seyalauni
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Hamirkalyani
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Adi
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Krithi
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Bale paripahi sahu
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Begada
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Rupaka
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Krithi
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Balochanam bhaga
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Saurashtram
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Misra Chapu
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Krithi
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Balumo samayannu
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Sahana
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Khanda Chapu
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Varnam
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Bhagala Deviya
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HanumaThodi
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Adi
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Krithi
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Bhagavate rudraya
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Kurinji
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Adi
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Krithi
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Bhajamyaham avyayam
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Nagagandhari
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Adi
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Krithi
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Bhakthavalsala paramesvara
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Karnataka Bihag
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Rupaka
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Krithi
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Bhandasuravimardini
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Manirang
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Rupaka
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Krithi
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Bhargam pasupatim
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Jingla
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Misra Chapu
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Krithi
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Bhavapasa mochakam
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Pushpalatika
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Jhampa
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Krithi
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Bhujanga Bhushana
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Chenchukamboji
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Adi
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Krithi
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Bhutha pataye namo
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Nagasvaravali
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Adi
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Krithi
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Bhuvaneswari alita
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Mohanakalyani
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Adi
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Krithi
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Bindupeetha kritavase
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Huseni
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Misra Chapu
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Krithi
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Chakra ragarathe
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Dharmavathi
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Rupaka
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Krithi
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Chakresi pradeepa sri
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Chakrapradeepta
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Adi
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Krithi
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Chandamundasiraschethry
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Garudadhwani
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Rupaka
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Krithi
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Chandrashekara vibushite
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Sankarabharanam
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Adi
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Krithi
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Charuvikrama
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Hamsadhwani
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Adi
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Krithi
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Chidanikunda sambhute
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Ataana
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Adi
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Krithi
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Dakshatvaraharam
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Surutti
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Adi
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Krithi
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Dandina Sri Chandikambe
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Salaga Bhairavi
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Adi
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Krithi
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Devam kavachinam
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Bangala
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Adi
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Krithi
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Devi damshrakarala
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Hamirkalyani
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Adi
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Krithi
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Devi Gaurininna
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Gaurimanohari
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Khanda Chapu
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Krithi
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Devi Sivadutipradae
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Punnagavarali
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Rupaka
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Krithi
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Devi Sri Mahalakshmi
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Harinarayani
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Adi
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Krithi
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Devidakshayani
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Balahamsa
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Rupaka
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Krithi
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Dhirasikhamani
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Ritigaula
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Adi
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Krithi
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Dinamani umasaga
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Mayamalavagaula
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Rupaka
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Krithi
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Ennalu tirugu
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Mandari
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Adi
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Krithi
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Gamanatham bhaje
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Panchamam
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Misra Chapu
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Krithi
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Gamganapathe namo nama
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Hamsadhwani
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Rupaka
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Krithi
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Ganesha skanda janani
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Nagabhushani
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Rupaka
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Krithi
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Garudavahana
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Garudadhwani
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Rupaka
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Krithi
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Giridhanvinam
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Kokiladhvani
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Adi
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Krithi
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Girija deviya bhajisetho
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Veenadhari
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Adi
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Krithi
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Giripriyam gangadharam
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Kathanakuthuhalam
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Adi
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Krithi
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Girisam mahesham
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Kaanada
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Misra Chapu
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Krithi
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Gopalanandana
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Kathanakuthuhalam
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Adi
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Krithi
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Gurunatha
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Pushpalatika
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Khanda Chapu
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Krithi
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Hara Maheswara
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Begada
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Adi
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Krithi
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Harihara Mahadeva
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Jaymanohari
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Rupaka
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Krithi
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Himagiri tanaye
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Udayaravichandrika
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Adi
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Krithi
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Himagirisa manomani
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Isamanohari
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Adi
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Krithi
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Ikhane tala
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Guharanjini
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Adi
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Krithi
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Ithi vela nanne
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Kokilabhashini
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Rupaka
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Krithi
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Jagadguru
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Gopikavasantham
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Adi
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Krithi
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Jalandharasupeethasthe
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Valaji
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Rupaka
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Krithi
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Jannani Ashrita
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Ratnangi
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Rupaka
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Krithi
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Japakusuma
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Dhanyasi
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Adi
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Krithi
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Jaya jaya basha
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Sudha Seemanthini
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Adi
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Krithi
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Jaya Mahishasura
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Hamsadhwani
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Rupaka
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Krithi
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Jaya Narayana
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Abhogi
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Adi
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Krithi
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Jayadevijaganmathe
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Garuda Malhar
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Triputa
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Krithi
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Jvaalajjihve
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Darbar
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Adi
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Krithi
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Kadambavanavasini
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Bhoopalam
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Triputa
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Krithi
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Kala ratri svaroopini
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Urmika/Sudha
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Adi
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Krithi
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Kalati thaya
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Udayaravichandrika
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Adi
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Krithi
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Kameswari Sri
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Kurinji
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Jhampa
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Krithi
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Kandara mandala madhyaye
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Purnachandrika
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Adi
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Krithi
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Kannan manivarnam
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Kharaharapriya
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Rupaka
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Krithi
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Kapalinam vande
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Hindustani Kapi
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Misra Chapu
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Krithi
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Karangulina Khotparana
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Harikamboji
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Ata
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Krithi
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Kartyayani skandajanani
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Devamanohari
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Adi
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Krithi
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Kausamba vasanopathe
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Karnataka Kapi
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Chapu
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Krithi
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Khanda Paradsive
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Yadukulakambhoji
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Adi
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Krithi
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Kripanidhe
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Hamsanandam
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Misra Chapu
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Krithi
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Kripasagara
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Madhavamanohari
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Adi
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Krithi
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Lalataksha namosthuthe
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Natta
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Adi
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Krithi
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Lambodara sodara
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Mecha Kalyani
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Eka
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Krithi
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Lambodhara Mahaganesa
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Navarasa Kannada
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Misra Chapu
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Krithi
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Madhu kaitabha
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Arabhi
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Rupaka
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Krithi
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Madjurapura nayike
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Chakravakam
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Adi
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Krithi
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Mahabala girisam
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Saranga
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Chapu
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Krithi
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Mahabaladri nilaye
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Ramapriya
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Adi
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Krithi
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Mahabaleswara vibho
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Saranga
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Rupaka
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Krithi
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Mahadevam
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Narayani
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Adi
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Krithi
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Mahaganapathe dehi
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Malahari
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Rupaka
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Krithi
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Maharajani mahalakshmi
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Amritavarshini
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Triputa
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Krithi
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Mahatripura Sundar
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Purnachandrika
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Rupaka
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Krithi
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Mahavishnusodari
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Anandabhairavi
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Adi
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Krithi
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Mahishasura
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Andolika
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Adi
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Varna
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Manadira kisainda
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Sankarabharanam
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Adi
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Krithi
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Manamadanguvade
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HanumaThodi
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Adi
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Krithi
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Manamu kavalannu
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Sahana
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Rupaka
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Krithi
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Manas sastvasraye
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Shanmukhapriya
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Adi
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Krithi
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Manasija janaka
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Panchamam
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Adi
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Krithi
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Manasukaragi
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Megharanjini
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Adi
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Krithi
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Mangalam pongidum
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Maand
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Adi
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Krithi
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Mangalaroopiniye
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Jonpuri
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Adi
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Krithi
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Manonmani
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Subhapanthuvarali
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Adi
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Krithi
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Mantrini matangatanaye
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Hemavathi
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Adi
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Krithi
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Marakathamanichaye
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Saindhavi
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Rupaka
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Krithi
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Mavoor valar maharani
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Jonpuri
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Adi
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Krithi
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Mavur valamperuga
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Sindhubhairavi
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Adi
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Krithi
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Meenalochani Amba
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HanumaThodi
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Rupaka
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Krithi
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Moovasaikonde
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Kharaharapriya
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Adi
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Krithi
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Mrigapane
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Bhairavi
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Rupaka
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Krithi
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Mrithuynjayam mridam
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Ramapriya
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Khanda Chapu
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Krithi
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Mula prakrithi rupe
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Saveri
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Adi
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Krithi
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Muruganukku oeru
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Mecha Kalyani
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Adi
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Krithi
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Na punyamu gada
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Keeravani
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Adi
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Krithi
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Namo hirayana
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Mangalakaisiki
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Adi
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Krithi
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Nava lavanya rupadhaye
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Hindolam
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Rupaka
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Krithi
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Navakshara manusutha
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Navarathnavilasam
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Adi
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Krithi
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Navaratrotsava
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Alankari
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Rupaka
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Krithi
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Navavarana sampoojaye
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Guharanjini
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Adi
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Krithi
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Nee padamulanu
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Natabhairavi
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Adi
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Krithi
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Needu mahima
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Hamsanandi
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Adi
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Krithi
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Ni bhaianana
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Kambhoji
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Adi
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Krithi
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Ni padame gathiyanu
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Bhairavi
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Adi
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Krithi
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Nilalohita
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Malavi
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Adi
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Krithi
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Nilayatakshi nive
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Vijayasree
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Rupaka
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Krithi
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Ninnu nammi nanu
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Abhogi
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Eka
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Krithi
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Nityakinne nishkalanke
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Nattakurinji
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Adi
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Krithi
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Pachiyana turumeni
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HanumaThodi
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Adi
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Krithi
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Panchasyayane
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Kaanada
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Khanda Chapu
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Krithi
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Panchavakthramasraye
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Hamsadeepakam
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Adi
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Krithi
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Pankajanabam
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Mecha Kalyani
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Adi
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Krithi
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Parama mangalate
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Dvijayanti
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Chapu
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Krithi
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Paramapavanane
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Megharanjini
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Rupaka
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Krithi
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Paramapurusha
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Paadi
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Adi
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Krithi
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Parasu hasthaya
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Navarasa Kannada
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Rupaka
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Krithi
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Paripurna paratpara
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Kuntalavarali
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Adi
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Krithi
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Pasupathe namosthuthe
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Saindhavi
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Adi
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Krithi
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Pasupathi padasevaname
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Pasupathimugram
|
Arabhi
|
Khanda Chapu
|
Krithi
|
|
Pasupatipriya sati
|
Pasupatipriya
|
Rupaka
|
Krithi
|
|
Pinakine maha prabhave
|
Brindavanasaranga
|
d
|
Krithi
|
|
Purandara vinuthe
|
Purvikalyani
|
Triputa
|
Krithi
|
|
Purarthaye namo
|
Hindolam
|
Adi
|
Krithi
|
|
Purusham pushadante
|
Devamanohari
|
Adi
|
Krithi
|
|
Rajarajeswari
|
Garudadhwani
|
Adi
|
Krithi
|
|
Rathnabhushani
|
Yadukulakambhoji
|
Adi
|
Krithi
|
|
Ratnakanjukadarini
|
Kambhoji
|
Misra Chapu
|
Krithi
|
|
Rohineeyam
|
Surutti
|
Khanda Chapu
|
Krithi
|
|
Rundamala lasat
|
Bhushavali
|
Adi
|
Krithi
|
|
Sachamara Ramavani
|
Hamsanandi
|
Rupaka
|
Krithi
|
|
Sachidananda vigrahe
|
Devagandhari
|
Chapu
|
Padam
|
|
Sahajaguna Rama
|
Sankarabharanam
|
Adi
|
Krithi
|
|
Sahasra sirsha
|
Sudha Lalitha
|
Jhampa
|
Krithi
|
|
Sahasrakara manadithe
|
Vachaspathi
|
Adi
|
Krithi
|
|
Sahasraksham sambhavam
|
Nayaki
|
Rupaka
|
Krithi
|
|
Sahasrapadam
|
Kedaram
|
Misra Chapu
|
Krithi
|
|
Sainapriya Sivasankara
|
Sama
|
Adi
|
Krithi
|
|
Sakala sampatprade
|
Ritigaula
|
Jhampa
|
Krithi
|
|
Saketha Bhupathe
|
Mukhari
|
Adi
|
Krithi
|
|
Sakthi Vinayaka
|
Sriranjini
|
Adi
|
Krithi
|
|
Samayamide nannu
|
Budhamanohari
|
Adi
|
Krithi
|
|
Sampathprade
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Sankara gangadhara
|
Sudha Saveri
|
Adi
|
Krithi
|
|
Sankarisathodari
|
Gaula
|
Adi
|
Krithi
|
|
Sannutangi
|
Vasantha
|
Adi
|
Varna
|
|
Sarasakshi ni
|
Mecha Kalyani
|
Ata
|
Krithi
|
|
Sarasamukhi
|
Garuda Malhar
|
Adi
|
Krithi
|
|
Saraswatidevi
|
Saraswati Manohari
|
Rupaka
|
Krithi
|
|
Saravanabhava
|
Pasupatipriya
|
Adi
|
Krithi
|
|
Sarva mangala rupadhye
|
Paras
|
Misra Chapu
|
Krithi
|
|
Sarvajna Samba
|
Ravichandrika
|
Rupaka
|
Krithi
|
|
Sarvjagatvyapanam
|
Manorama
|
Adi
|
Krithi
|
|
Sasisekhara
|
Purnachandrika
|
Adi
|
Krithi
|
|
Sathvikam sankaram
|
Amritavarshini
|
Khanda Chapu
|
Krithi
|
|
Satideviye
|
Shanmukhapriya
|
Adi
|
Krithi
|
|
Sharanam vijaya
|
Vijayasaraswati
|
Adi
|
Krithi
|
|
Siddhi Vinayakom
|
Mohanakalyani
|
Adi
|
Krithi
|
|
Sikhivahana
|
Hamsadeepakam
|
Adi
|
Krithi
|
|
Simhavahana Amba
|
Simhavahini
|
Rupaka
|
Krithi
|
|
Siva mahasena janaka
|
Vasantha
|
Khanda Chapu
|
Krithi
|
|
Siva siva sambho
|
Mecha Kalyani
|
Adi
|
Krithi
|
|
Sivam vrishbharudram
|
Mohanakalyani
|
Khanda Chapu
|
Krithi
|
|
Sivapriya
|
Sriranjini
|
Rupaka
|
Krithi
|
|
Sivaramaya sugunalaya
|
Keeravani
|
Rupaka
|
Krithi
|
|
Somasundara
|
Sarasangi
|
Adi
|
Krithi
|
|
Somasuryagni
|
Hamsanandi
|
Misra Chapu
|
Krithi
|
|
Sri Anjaneya
|
Jaymanohari
|
Adi
|
Krithi
|
|
Sri bhargavam
|
Sri
|
Adi
|
Krithi
|
|
Sri bhavamchinmayam
|
Garudadhwani
|
Misra Chapu
|
Krithi
|
|
Sri karijaya
|
Sri
|
Adi
|
Krithi
|
|
Sri mahabala saila
|
Sudha Saveri
|
Adi
|
Varnam
|
|
Sri Mahaganapathe
|
Kambhoji
|
Ata
|
Varnam
|
|
Sri Mahishasuramardini
|
Hamsagamani
|
Rupaka
|
Krithi
|
|
Sri Parameswara
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Sri Raghuvara chinmaya
|
Nayaki
|
Adi
|
Krithi
|
|
Sri Raja Raja varade
|
Saurashtram
|
Rupaka
|
Krithi
|
|
Sri rajamatangi
|
Udayaravichandrika
|
Adi
|
Varna
|
|
Sri Rama kodandarama
|
Bhairavi
|
Misra Chapu
|
Krithi
|
|
Sri Sailabrahmambika
|
Kamalamanohari
|
Rupaka
|
Krithi
|
|
Sri Sambasiva sadguru
|
Gurupriya
|
Khanda Chapu
|
Krithi
|
|
Sri Sambasivaiya
|
Suryakantham
|
Rupaka
|
Krithi
|
|
Sri Shuba Devi
|
Jaganmohini
|
Rupaka
|
Krithi
|
|
Sri Sive jaya vaibhave
|
Abhogi
|
Adi
|
Krithi
|
|
Sri trilokesam
|
Saveri
|
Khanda Chapu
|
Krithi
|
|
Sri Virabhadram
|
Kannada
|
Adi
|
Krithi
|
|
Sri Virupaksha
|
Gauri
|
Khanda Chapu
|
Krithi
|
|
Sri Vishweswara
|
Harikamboji
|
Adi
|
Krithi
|
|
Srichakrapuravasini
|
Gamanasrama
|
Adi
|
Krithi
|
|
Srichakravara
|
Janaranjani
|
Adi
|
Krithi
|
|
Srikanda dayanide
|
Malavi
|
Rupaka
|
Krithi
|
|
Srikantha dayanidhe
|
Salaga Bhairavi
|
Rupaka
|
Krithi
|
|
Srimad Simhasaneswari
|
Sudha Saveri
|
Adi
|
Krithi
|
|
Srimad Tripurasundari
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Srirama jayabhauma
|
Madhyamavathi
|
Adi
|
Krithi
|
|
Srisa raravanabhavuni
|
Sumanpriya
|
Adi
|
Krithi
|
|
Sritrayimurte
|
Jayanarayani
|
Rupaka
|
Krithi
|
|
Sudhamayi sudhanidhi
|
Amritavarshini
|
Rupaka
|
Krithi
|
|
Sukshmathanum
|
Hindola Vasantha
|
Khanda Chapu
|
Krithi
|
|
Suryacharagni
|
Sriranjini
|
Rupaka
|
Krithi
|
|
Tappa mannisotaye
|
Mayapradeepa
|
Adi
|
Krithi
|
|
Tappulanaiyu
|
Bauli
|
Rupaka
|
Krithi
|
|
Taraka nama
|
Mayamalavagaula
|
Adi
|
Krithi
|
|
Teliyakane
|
Huseni
|
Rupaka
|
Krithi
|
|
Thaiyidhathil anbiiatha
|
Jonpuri
|
Eka
|
Krithi
|
|
Tharakamsivan
|
Sriranjini
|
Adi
|
Krithi
|
|
Thim Thathim
|
Hamsanandi
|
Adi
|
Tillana
|
|
Thodu nida nive
|
Punnagavarali
|
Adi
|
Krithi
|
|
Thom tha thom
|
Kaanada
|
Adi
|
Thillana
|
|
Thyagaraja sadguruvai
|
Hindolam
|
Adi
|
Krithi
|
|
Tripuranthaka deva
|
Hindusthani Behag
|
Adi
|
Krithi
|
|
Umadeva mahanubhava
|
Mohana
|
Adi
|
Krithi
|
|
Urraya Avyak taya
|
Dharmavathi
|
Rupaka
|
Krithi
|
|
Vageeswari
|
Saraswati
|
Adi
|
Krithi
|
|
Vajresi mathe
|
Andolika
|
Adi
|
Krithi
|
|
Valli nayaka
|
Shanmukhapriya
|
Adi
|
Krithi
|
|
Vanchadomune
|
Karnaranjini
|
Triputa
|
Krithi
|
|
Vani nityakalyani
|
Saraswati Manohari
|
Adi
|
Krithi
|
|
Vaninivasini
|
Kedaram
|
Rupaka
|
Krithi
|
|
Vedamathe vedavinuthe
|
Natta
|
Adi
|
Krithi
|
|
Vijayambika
|
Vijayanagari
|
Adi
|
Krithi
|
|
Vindhyachala nivasini
|
Narayanagaula
|
Triputa
|
Krithi
|
|
Vyomakesam namami
|
Andolika
|
Triputa
|
Krithi
|
|
Yagnamayum Sankaran
|
Bhavapriya
|
Rupaka
|
Krithi
|
|
Yogini Ganasevitha
|
Vanaspathi
|
Adi
|
Krithi
|
Koteeswara
Iyer (1870 - 1940) Biography and Works
Biography
Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi Raaga-s.
Koteeswara Iyer was born into a music famly. His grand father was the famous poet and composer Kavikunjara Bharati, a contemporary of the trinity. Koteeswara Iyer was initially trained by his grand father. Later he was trained by Ramnad Sreenivasa Iyengar and then by Patnam Subramania Iyer. Koteeswara Iyer's mudra, Kavi Kunjaradasan, shows his respect for his grand father, Kavikunjara Bharati.
Koteeswara Iyer penned over 200 compositions. He also composed a krithi in each of the 72 mela-s and published them in his book Kandha Gaanamritham. But he is well known for his Vivaadi raaga krith-s like Mohanakara (Neethimathi), Ma madhura sarasa (Ganamurthi) and Singara Kumari (Varunapriya). Famous vocalist S. Rajam is one of the artists who has sung a lot of Koteeswara Iyer krithi-s and popularized them
Teachers & Influences: Patnam Subramanya Iyer, Ramnad Sreenivasa Iyengar
Mudra: Kavi Kunjaradasan
Genre Carnatic: Krithi
Languages used: Tamil, Telugu
Compositions:
Adum azhaginile Kosalam Adi Krithi
Alagade Hatakambari Adi Krithi
Amboruha padame Natabhairavi Rupaka Krithi
Ananda rakshaka Jhalavarali Adi Krithi
Andharanga bhakthi Shadvidhamargini Adi Krithi
Anjaade Pavani Misra Chapu Krithi
Appa Muruga Divyamani Adi Krithi
Appane kapali HanumaThodi Rupaka Krithi
Arul shaiya Rasikapriya Adi Krithi
Ayyane atkol Kambhoji Triputa Krithi
Dasanena Gukasena Vanaspathi Adi Krithi
En maname Namanarayani Adi Krithi
Enai alayya Sankarabharanam Adi Krithi
Ganamudham Salagam Adi Krithi
Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi
Ghananayadesika Rishabhapriya Adi Krithi
Gitamudame Madhyamavathi Adi Krithi
Iha para sukha Suvarnangi Rupaka Krithi
Vachaspathi Rupaka Krithi
Isan Kanakasabhesan Begada Adi Krithi
Ka guha Shanmukha Kosalam Rupaka Krithi
Kaana kankodi vendum Chakravakam Rupaka Krithi
Kada bhakthachintamani Dharmavathi Misra Chapu Krithi
Kaikuda Latangi Jhampa Krithi
maname Ragavardhini Rupaka Krithi
Kali teera vandarul HanumaThodi Misra Chapu Krithi
Kanaka Mayura Jalarnavam Adi Krithi
Kanakangaka Kanakangi Adi Krithi
Kanakavela karunalavela Sri Adi Krithi
Kandaga karpaga taruve Syamalangi Misra Chapu Krithi
Kanjam konjam Suryakantham Rupaka Krithi
Kanparaiyya Kharaharapriya Rupaka Krithi
Karunai Kadale Dhenuka Adi Krithi
Karvaya kanda Dhavalambari Rupaka Krithi
Ma madhura sarasa Ganamurthi Adi Krithi
Mahaganapathe Kaanada Adi Krithi
Malaiyate maname Sarasangi Rupaka Krithi
Manade maravade Hemavathi Rupaka Krithi
Mane moham Saveri Adi Varnam
Mangalam mayitvaham Surutti Adi Krithi
Manojanaimaruganai Gaula Adi Krithi
Mohanakara Neethimathi Rupaka Krithi
Nada nilai Gayakapriya Jhampa Krithi
Nadanuasantanaa Vagadheeswari Adi Krithi
Nadasukham Kanthamani Adi Krithi
Nalagude Rupavathi Adi Krithi
Nambinen Aiyya Vakulabharanam Adi Krithi
Nan enna seyven Mayamalavagaula Adi Krithi
Nayen unaye Naganandini Adi Krithi
Neeye gati en thaye Harikamboji Adi Krithi
Ni than appa Charukesi Adi Krithi
Nijabhaktim Manavathi Rupaka Krithi
Ninnaikanome Gangeyabhushani Rupaka Krithi
Paramananda Vishwambhari Rupaka Krithi
Sulini Adi Krithi Parayunul Gaurimanohari Adi Krithi
Rama ravikulasoma Bhairavi Adi Krithi
Ranjitha kavi Sudha Saveri Rupaka Krithi
Sadanamndame Mecha Kalyani Adi Krithi
Sadananda Raghupriya Rupaka Krithi
Samaganalola Chitrambari Misra Chapu Krithi
Sambhosankara Mecha Kalyani Triputa Krithi
Sami Dikshita Devamanohari Rupaka Krithi
Sami ide nallsamayam Navaneetham Rupaka Krithi
Sami sadamuda Ramapriya Adi Krithi
Samidesamayam Kedaragaula Rupaka Krithi
Sanbho sadasiva Yagapriya Adi Krithi
Shentiruvelan Bhavapriya Adi Krithi
Singara Kumari Varunapriya Adi Krithi
Sri Venugopaladeva Darbar Jhampa Krithi
Sukha Vazhve Kokilapriya Rupaka Krithi
Sukhakara Dhatuvardhini Adi Krithi
Sukhame sukham Shanmukhapriya Adi Krithi
Tandi mamukha Natta Adi Krithi
Thandarul ayya Nasikabhushani Misra Chapu Krithi
Tharuve nin arul Varali Misra Chapu Krithi
Ullam ariyada Sriranjini Adi Krithi
Unnaiyillal Simhendramadhyamam Adi Krithi
Va velava va Tanarupi Jhampa Krithi
Vaaranamukha va tunai Hamsadhwani Rupaka Krithi
Varnam tarum Jhankaradhwani Misra Chapu Krithi
Velaiya dayi Saveri Adi Krithi
Velanai vere gathi Subhapanthuvarali Misra Chapu Krithi
Velava va adiyen Arabhi Rupaka Krithi
Velave va Keeravani Jhampa Krithi
Velu mayilu me Sucharitra Rupaka Krithi
Viraraghava Gavambodhi Adi Krithi
Yedum ariyene Sahana Jhampa Krithi
Wednesday, August 15, 2007
Subramania
Bharathi (1882-1921) Biography And Works
Biography
Subramania Bharathi
was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in 1882 at Ettayapuram. He lost
his mother at the age of 5. He learnt music from very young age and at 11 and
was invited to a conference of Ettayapuram court poets and musicians for
composing poems and songs. He accepted a challenge and composed a chindu on the
model of kaavadi chindu of Annaamalai Reddiyaar. There he was given the title
'Bhaarati' for his ability to compose poems and songs.
At the age of 15 he
married Cellammaal and in 1898 lost his father. At 22, he became Tamil teacher
at Setupati High School in Madurai and the same year was appointed Assistant
Editor of a daily newspaper called "Swadesamitran." In 1906, he was
editor of a weekly magazine called "India" in Madras and the next
year a friend of his, Krishnaswaamy Aiyyar received from him songs he had composed
on patriotism and published them, titled "SudEsa geetangaL." In 1908
the government wanted to arrest him, but he escaped to PonDicerry (under French
rule) and published "India" from there.
In 1912 he
translated the Bhagavad Geeta into Tamil and composed songs on Krishna (KaNNan
PaaTTu), "Kuyil," and "Pancaali Shabadam" (on Draupadi of
the Mahaabhaarata).
His national
integration songs earned him the title "DEsiya Kavi" (National
Poet).His patriotic songs emphasize nationalism, unity of India, equality of
man and the greatness of the Tamil language. He sang these himself at Congress
meetings at the Madras beach. He composed tamil keertanais on love,
devotion,fearlessness, mysticism.
His stepbrother
C.Vishwanaata Aiyyar and V.V.S. Aiyyar tell us that he himself set his songs to
music and could sing them well in a variety of raagams. In "Bharata
dEviyin tiru dasangam" he used 10 raagams.
In an article
"Sangeeta Vishayam" (Issues in Music), Bhaaratiyaar rebukes musicians
PaTnam Subramania Aiyyar and others for singing songs of the Trinity, without
knowing the meaning because the songs are all in Sanskrit or Telegu. According
to him, without knowing the meaning, singers are unable to sing with proper
expression. He also saysthat songs usually portray devotion and love and not
other emotions like courage, anger, wonder,fear, and hatred. He emphasized that
musicians should not sing songs which they don't understand and should learn
from Hindustani musicians how to train their voices.
He died in an
accident on September 11, 1921 at the age of just 39.
Compositions:
Appavum ponnadi
Jaymanohari Adi Krithi
Bharatha samudayam
Hindusthani Behag Eka Padam
Chinna chiru kiliye
Bhairavi Rupaka Krithi
Dikkuteriyada
HanumaThodi Adi Krithi
Endaiyam tham
Kambhoji Adi Krithi
Jayamundu
bhayamillai Khamas Adi Krithi
Jiva padagai
Anandabhairavi Adi Krithi
Jnanappal arulvai
Saramati Adi Krithi
Kaathirukunren Sama
Adi Krithi
Kanavendamo Sri
Rupaka Krithi
Kanene en kanavan
Mecha Kalyani Adi Krithi
Kanika kondutaram
Varali Eka Krithi
Karumbu thottathile
Saindhavi Misra Chapu Krithi
Malai pozhidil
Nadanamakriya Adi Krithi
Mannar kulathinadi
Nadanamakriya Adi Krithi
Muruga Muruga
Nattakurinji Adi Krithi
Nenjukku neethi
Sindhubhairavi Adi Krithi
Neram mikandidu
Nadanamakriya Adi Krithi
Nithyamunai vendi
Chakravakam Eka Krithi
Pillai prayathile
Saraswati Manohari Eka Krithi
Sakthi tanake
Bhoopalam Eka Krithi
Thanjamulakinil
Punnagavarali Adi Krithi
Ujjaiyini Hindolam
Adi Krithi
Umayirundavar
Kambhoji Adi Krithi
Unnai yenamayil
Kharaharapriya Adi Krithi
Vandadum cholai
Harikamboji Adi Krithi
Veene
Sheshanna (1852-1926) Biography
Biography
Veene sheshanna is perhaps the most famous musician of the Mysore
royal court and proponent of the famous Mysore Bani i.e. school of veena
playing. He also represents the times when Mysore royal court was the cultural
capital of the south.
Born into a family of musicians, he learnt from his father Bakshi Chikka Ramappa who was the court musican in the court of the Mysore king of the time Mummadi Krishnaraja Wodeyar. He was a child prodigy and gained acceptance of the court even at the age of just ten. Later he learnt vocal music under the famous vocalist Mysore Sadashiva Rao.
Apart from Veena, he was adept at playing many instruments like piono, sitar and violin. He also learnt Hindustani music and even western classical. He was also a composer.
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