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.

G. N. Balasubramaniam (1910-1965) Biography

Biography

G.N. Baalasubramaniam - (1910-1965) It was festival in the Kapaleeswarar temple, Mylapore, Madras. The top artiste to give the concert of the day did not turn up and the temple authorities were in a quandry. They decided upon the substitute and proceeded to meet G.V.Narayanaswamy Ayyar, Head Master, Hindu High School, Triplicane to depute his young son, Balasubramaniam to take the concert. Narayanaswamy Ayyar could not comprehend the request and was as confounded as Dasaratha was when sage Viswamitra wanted him to depute his son Rama. The authorities pointed out that Ariyakudi Ramanuja Ayyangar shot into fame only in similar circumstances by ascending the dias when the senior Vidwan Madurai Pushpavanam failed to turn up and had never an occassion to look back.
The parallel thrilled the ear of the father. He acceded and the son gave the concert, a memorable debut in which his guru Madurai Subramaniam and Pudukottai Vakil K.Rajamani accompanied on violin and mridangam. Fame and glory crowned G.N.Balasubramaniam quite soon even as the eastern sun in summer shoots into the sky and spreads its floodlight with dynamic speed and no twilight. Balasubramaniam was born on January 6, 1910 at Gudalur in Mayiladuthurai taluk. He studied in the Wesley College while learning music under his father, a disciple of Karur Chinnaswamy Ayyar and under Madurai Subramania Ayyar. He obtained his B.A. (Hons.) in 1929.
GNB, as he was popularly known, was a top vocalist of repute in a period which had seen fairly a large number of top-ranking musicians. His bracing, resonant and impressive voice and his special style rich with brisk brikas and pleasing delivery of kritis was a satisfying and thrilling experience to the vast concourse of admirers. His unique style, regulated tempo and masterly delivery were the delights of the audience. His melifluous voice would traverse the three octaves and the three 'kalas' with ease. His brikas were infectious and he kept his ears and mind open to receive what was best in other musicians. He had high respect for Ariyakudi Ramanuja Ayyangar, the senior artiste of eminence. He had a partiality for Todi, Kalyani and Kamboji and for Andolika, Nalinakanti, Vasantabairavi, Jothiswarupini, etc. His disciple, Trichur V.Ramachandran states that his master's style was essentially of a madhyamakala which sustained the interest of the audience. His command of ragalakshanas was amazing revealing the quintessence of the ragas at the very outset. His singing was crisp and 'sangatis' measured.
GNB was one of the prominent composers of recent decades. Out of his 250 compositions in sanskrit, Telugu and Tamil in traditional and his own invented ragas like Chandrahasita, Sivasakti, Amrita Behag, etc., sixty had been published. A gentleman with humility as he was, he would not sing his own compositions in concerts. His respect for values was prodigious. He would return the nominal honoraria he got from the Music Academy as donation. A further feature of his concerts was that he would review the performances of his accompanists and his own. His joy would be immense at the excellence of others. He had a soft heart for rising artistes. His anxiety to satisfy the susceptibilities of the audience was immense.
Even as a boy, he had taken part in musical and dramatic activities in the Hindu High School which he joined in the sixth standard. Later he took the lead role of Dushyant in the famous Tamil film 'Sakuntala' in which another great musician, M.S.Subbulakshmi was the heroine. He had played the role of 'Narada' in the films Bhama Vijayam and Sathi Anasuya. Udayanan, Vasavadatha is another film in which he had acted. He was also pleased with the rendition of Ustad Bade Ghulam Ali Khan that he became an ardent devotee of Khan.

Before he actually made his mark as an vocalist, Mani got a chance to practice to the accompaniment of mridangam. This helped him a lot and taught him many useful bits about mridangam technique which he could make use of in his concert.

Very many of the earlier performances of the few early years were at some friends’ house parties, college functions etc. A performance was arranged by one of his admirers a well-wisher in Theosophical Society, Adyar under the world famous Banyan Tree (which has been there for centuries and ever green) Srimathi Rukmani Devi Arundale was the patroness of the occasion. Her appreciation and applause were noticed by the press representatives present on the occasion and they gave a glowing report of the concert in the next day dailies and that meant G N Balasubramaniam had arrived and the road to name, fame and fortune were open to him.

He could produce super fast gamakam laden sangathis with strength and weight and with great imagination. But,in such a voice of his, running at so fast a speed the effects of Brighas, twists and turns would come in quick succession that most of the audience, the lay audiences failed to appreciate and felt restless, those with a musical ear, sure knew some of the nuances but this is loss to the lay audience, of course, and also a loss to the musician that his great achievements pass unnoticed.

So, Mani,to overcome this, in coming years had restricted the speed, ideally suited to his voice at the same time easily followed by the audience. Thus, his style of Raga elaboration, rendering of standard kritis in the classic traditions and apt swaraprasthana endeared him to the average music hall audience as well as to the knowledgeable musically trained critical audience of his time.

He had taught and groomed during his active years number of his disciples to reach the top grade and among them are Radha Jayalakshmi, M. L. Vasant hakumari, Trichur V. Ramachandran, S.Kalyanaraman.

Mani was persuaded by his friends and admirers to act in a film called "Bhama Vijayam". Later he acted with the celebrated musician M. S. Subbalakshmi in Sakunthala as Dushyantha.

Apart from being a great vocalist, GNB also composed sevaral krithis. Unfortunately his life was cut short and he pass away in the prime of his musicianship at the age of just 55.

Compositions:

AMBORUHA PAADAME (VARNAM) - RANJANIBHAARAMAA EE BAALUNI - HAMSANAADAMBHUVANATRAYA SAMMOHANAKARA - MOHANAMEN MANATTAAMARAI - REETIGOWLAENTO MORALIDA LEDAA - KANNADAGATI VEREVARAMMAA - BHAIRAVIINTA PARAAKU NEEVE - BHAIRAVIKAMALAASINI SUNDARI - KALYAANIKAMALA CARANE - AMRITA BEHAAGKANAVILUM KAMALA - SHREE RANJANIKAARANAMEMI KAANANE - AANDOLIKAAKARIMUKHA VARADAA - NAATTAIKARUNA JOODA RAADAA - SAHAANAAKAVALAI ELLAM - SARASWATIKUVALAYAAKSHHI KUSHALAM (VARNAM) - KATANAKUTOOHALAMMADHURAAPURI KALYAANI - POORVI KALYAANIMAMA KULESHWARAM - TODIMANASAARAKANE NAMMAKA - AABHOGIMAARAKOTI SUNDARI - BAHUDAARIMARAVANU NE NINNU - AARABIMARIVERE GATI NAAKEVARU - MAALAVIMOHANA KRSNA - KATANAKUTOOHALAMNAA MORALANU - NAARAAYANINAAKABHAYA VARAMOSAGI - NAATTAI KURINJINANNU BROVA NEE - SHENJUKAAMBHOJINEE ALLAAL INI - KAANADAANEE DAYARAADAA (VARNAM) - AANDOLIKAANEE CARANAMBUJAMUNU - KEERAVAANINEE DAYA GALGUNO - SHANMUGAPRIYAANEE PAADAME - NALINAKAANTINEE SAMAANAMEVARU - SHUBHAPANTUVARAALININNU POGADA - KUNTALA VARAALININNU VINAA VEREVARU - MAALAVINIRATAMUGAA NINNE - UDAYA RAVI CANDRIKAANIRAVADHI SUKHA DAAYAKI - MALAYAMAARUTAMPAADA BHAJANA - KAMAASPADA MALARINAIYE - BEGADAPARAAMUKHAMELA NAMMA - KAANADAAPARAMAKRUPAA SAAGARI - YADUKULA KAAMBHOJIPARITAAPAMULEKA - SHANMUGAPRIYAAPORUMAIYAI IZHAINDEN - SIMHENDRA MADHYAMAMRANJANI NIRANJANI - RANJANISAAMAGAANA LOLE - HINDOLAMSADAA PAALAYA - MOHANAMSAMAANA RAHITE - SAARANGA TAARANGINISANTATAMU NINNE - VALACISARASWATI NAMOSTUTE - SARASWATISHANKARA MAHAADEVA - DEVA MANOHARISHIVAANANDA KAAMAVARDHANI - KAAMAVARDHANISHREE CAKRARAAJA NILAYE - SHIVASHAKTITAAMASAMIKA TAALANU - AABHOGIUNNADIYE GATI - BAHUDAARIVADARERAMMA NEE PAADA - SAAVERIVARADA NIPUNA - POORNACANDRIKAAVARA VALLABHA - HAMSADWANI

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

Languages used:

Sanskrit

Compositions:

Ambujakshi	Simhavahini	Rupaka	Krithi
Balakrishnam	Nilaveni	Adi	Krithi
Bhajare mohana	Bhanuchandrika	Rupaka	Krithi
Bhooribhagyalahari	Pratapavarali	Adi	Krithi
Brahmananda valaye	Maand	Triputa	Krithi
Chintayami Jagadambha	Hindolam	Adi	Krithi
Chinthaye sada	Sindhuramakriya	Adi	Krithi
Chintyami santhanama	Varunapriya	Adi	Krithi
Devi Jadambika	Vasantha Bhairavi	Khanda Jhampa	Krithi
Devi Sri Meenakshi	Chakravakam	Triputa	Krithi
Gam Ganapathi	Durvangi	Triputa	Krithi
Gamganapathe sada	Nagasvaravali	Adi	Krithi
Kamakshi pahi mam	Shivakambodi	Khanda Triputa	Krithi
Kshirasagara	Mayamalavagaula	Dhruva	Krithi
Manavathim	Kokilapriya	Adi	Krithi
Matanga kanyam	Sudha Thodi	Khanda Triputa	Krithi
Mrithunjayam	Ragavardhini	Triputa	Krithi
Nadarupini vandeham	Kokilapanchamam	Adi	Krithi
Nagalinga Maheswaram	Sankarabharanam	Rupaka	Krithi
Neelakantam Mahadevam	Purvikalyani	Misra Triputa	Krithi
Pahi mam	Supradeepa	Adi	Krithi
Pahimam Sitarama	Hindola Desika	Adi	Krithi
Pahimam Sri	Jayasamavardhani	Khanda Triputa	Krithi
Pahimam Sri Parameswari	Hindola Durbar	Rupaka	Krithi
Paripahi mam	Subhapanthuvarali	Adi	Krithi
Rajarajeswarim	Balachandrika	Khanda Triputa	Krithi
Saraswathim bhagavathim	Hamsavinodhini	Khanda Chapu	Krithi
Sri Chakrapurvasini	Sudha Lalitha	Adi	Krithi
Sri Gayatri	Gamanasrama	Druva	Krithi
Sri Jalandhara masrayamyaham	Gambhiranatta	Adi	Krithi
Sri Nagalingam	Vachaspathi	Jhampa	Krithi
Sri Ranganathani	Kalyanavasantham	Jhampa	Krithi
Sri vidya lalitham	Nadabrahma	Adi	Krithi
Sri Vidyamodini	Kokilabhashini	Tisra Triputa	Krithi
Sri Vidyapati	Lalitha Panchamam	Adi	Krithi
Srichamundeswari	Kannada	Adi	Krithi
Srilalitham maha	Nagadhvani	Khanda Triputa	Krithi
Suranandinee	Suranandini	Adi	Krithi
Suvarnangi	Suvarnangi	Misra Jhampa	Krithi
Swaminatha palaya	Charukesi	Triputa	Krithi
Vandeham Sive	Kathanakuthuhalam	Matya	Krithi
Vandehamsada	Hamsanatini	Adi	Krithi
Vijayatam sagare	Vishwambhari	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.

Mudra: Ramadasan
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

kSIra sAgara shAyi
pUrvikalyANi-Adi-krithi

kulakkoDi tazhaikka
rAmapriyA-Adi-krithi

kumaran tAL
yadukulakAmbhOji-Adi-krithi

kumaran tiruvaDi
yamunAkalyANi-Adi-krithi

kuncita pAdam
kAmbhOji-Adi-krithi

kunram kuDi
tODi-Adi-krithi

kUvi azhaikka
sindhubhairavi-Adi-krithi

mA dayai
vasantA-Adi-krithi

mA padAmbOruham
kuntaLavarALi-Adi-krithi

mA ramaNan
hindOLa-rUpaka-krithi

mAdhava bhuviyadil
shankarAbharaNa-Adi-krithi

mAdhava mAyA
hamsAnandi-Adi-krithi

mahA prabhO
Arabhi-Adi-krithi

mahAdEva paramashiva
shuddhasImantini-Adi-krithi

mahAlakSmi jaganmAtA
shankarAbaraNa-cApu-krithi

mahAtmA gAndhi
maNirangu-Adi-krithi

mahimai ariya
mAyAmALavagauLa-Adi-krithi

mahiSAsuramadani
kannaDa-Adi-krithi

mAl marugA
vasantA-Adi-krithi

mAlai shUTTuvEn
rAgamAlika-Adi-krithi

malariNai
rItigauLa-rUpaka-krithi

manakkurangu
AbhOgi-Adi-krithi

manamE kaNamum
bhImpalAs-Adi-krithi

manamE nI
kuntalavarALi-Adi-krithi

manamenum malarAl
mAyAmALavagauLa-Adi-krithi

mangaLa nAyaki maDa
tODi-Adi-krithi

mangaLa nAyaki malaraDi
navarasakannaDa-Adi-krithi

mangaLam aruL
shrI-rUpaka-krithi

mAniDa janmam
khamAs-rUpaka-krithi

mArajanaka
rAgamAlikA-Adi-krithi

mariyAdai tAnO
dhanyAsi-Adi-krithi

marundaLittaruLvAi
gauLa-Adi-krithi

mAtA innum vAtA
shrIranjani-Adi-krithi

mAtA InrameyyA
shuddhasAvEri-Adi-krithi

mAtA tuNai
kAnadDA-Adi-krithi

mAyam EdO
mAyAmALavagauLa-Adi-krithi

mAyAvatAra madhusUdanA
kAmbhOji-Adi-krithi

mayil vAhanA
mOhana-Adi-krithi

mayil vAhanE
KalyANi-Adi-krithi

mayilApuriyil
bhairavi-cApu-krithi


mOhana krSNA
suraTi-Adi-krithi

mOhana muraLIdharA
cenjuruTi-Adi-krithi

mOhana shrngAra
mOhana-Adi-krithi

mUlAdhAra mUrti
hamsadhvani-Adi-krithi

muraLIdhara mana
nAgasvarAvaLi-Adi-krithi

murugA muzhumadi
sAvEri-Adi-krithi

muruganai bhaji
jOnpuri-Adi-krithi

muruganai nI anudinamum
kannaDa-Adi-krithi

nAda praNava
shuddhasAvEri-Adi-krithi

nam nADu
shuddhasAvEri-Adi-krithi

nAma bhajarE
mANd-Adi-krithi

nAma dhyAnam
rItigauLa-Adi-krithi

nAma ghOSam
Anandabhairavi-Adi-krithi

nAmam uravu
darbAr-Adi-krithi

nAman onrE
kharaharapriyA-Adi-krithi

nambik-keTTavar
hindOLa-Adi-krithi

nambinadu kuTramA
hamsadhvani-Adi-krithi

nambum anbarai
shrIranjani-Adi-krithi

nanganallUr
Anandabhairavi-Adi-krithi

nAnoru viLayATTu
navarasakannaDa-Adi-krithi

nArAyaNa divya
mOhanam-Adi-krithi

nArAyaNa naLinAyata
sAma-Adi-krithi

naTana sabhApatiyE
nATakuranji-Adi-krithi

naTanam enbadu
vasantA-Adi-krithi

naTarAjan un tiru
vasantA-Adi-krithi

naTarAjO vijayatE
vasantA-khaNDjAti aTa-krithi

nAthan tAL
hamIrkalyANi-tisra Eka-krithi

nekkurugi
AbhOgi-Adi-krithi

nenjE kalpaka
shudhdhasImantini-Adi-krithi

nI aruL puriya
kIravANi-tripuTa-krithi

nI gatiyaladu
bhairavi-Adi-krithi

nI inda mAyam (padavarNam)
dhanAysi-Adi-krithi

nI irangAyenil
aThANA-Adi-krithi

nijamunnai
bilahari-jhampa-krithi

nIlAmbari jagadIshvari
nIlAmbari-Adi-krithi

nin aruL
kAmavardhini-rUpaka-krithi

nin caraNa malarE
simEndramadhyam-cApu-krithi

ninai manamE
anandabhairavi-rUpaka-krithi

ninaindurugum aDiyAr
kharaharapriyA-Adi-krithi

ninaindurugum enai
suraTi-Adi-krithi

nityAnandam aLikkum (kaNNigaL)
nAdanAmakriyA-Adi-krithi

nIyE parAmukhamAyin
hamsanAda-Adi krithi

nIyE pEdai
kAmavardhini-Adi-krithi

nIyE sharaN
kAmbhOji-Adi-krithi

O shiva param
paraju-Adi-krithi

OhO en tOzhargaL
sindhubhairavi-rUpaka-krithi

oru varam
kalyANi-Adi-krithi

pada malariNai
sAvEri-Adi-krithi

padam nambinEn
kalyANi-Adi-krithi

pAdamalar tuNaiyE
harikAmbhOji-cApu-krithi

padamalarE gatiyena
mAyAmALavagauLa-rUpaka-krithi

pAdamalarE tanjam
kEdAra-Adi-krithi

pAdamE tuNai
valaji-Adi-krithi

pADap-pADa
kAmbhOji-Adi-krithi

padari manamayarndu
sAvEri-Adi-krithi

pADi aluttEn
kuntaLavarALi-Adi-krithi

padmanAbha mAm pAhi
kalyANi-dEshAdi-krithi

padumanAbhan marugA
nAgasvarAvaLi-Adi-krithi

pAhi mInalOcani
bilahari-Adi-krithi

pAlanai purivadOr
darbAr-Adi-krithi

pAmAlaikkiNai uNDO
harikAmbhOji-Adi-krithi

pANDuranga prabhuvE
kApi-Adi-krithi

para deivam
pUrvikalyANi-Adi-krithi

para dEvataiyE
cakravAka-Adi-krithi

paradEvatE padam
maNirangu-dEshAdi-krithi

parama puruSan
nAgasvarAvaLi-Adi-krithi

parAmukham EnayyA
kharaharapriyA-Adi-krithi

parAmukham tagumO
mukhAri-Adi-krithi

parAshakti janani
hamsadvani-Adi-krithi

parashu pANi
paraju-Adi-krithi

parAtpara parameshvara
vAcaspati-dEshAdi-krithi

pAril nalvazhi
tODi-Adi-krithi

paripAlanai puri
hEmavati-Adi-krithi

parpala
khamAs (paN)-rUpaka-krithi

pArulagil uzhanru (kaNNigaL)
mOhana-Adi-krithi

pArvati nAyakanE
SaNmukhapriyA-Adi-krithi

pati avanE
cenjuruTTi-Adi-krithi

pati padam
shankarAbharaNa-Adi-krithi

patita pAvana
tODi-Adi-krithi

pavana tanaya
kAmbhOji-Adi-krithi


pazhani appan
simhEndramadhyam-Adi-krithi

pErAnandam
rItigauLa-Adi-krithi

piccaikku vandIrO
suraTi-Adi-krithi

piravA varam
latAngi-Adi-krithi

piravi adanAl
shahAnA-adi-krithi

pizhai poruttaruLvAi
husEni-cApu-krithi

pollAp-puliyinum
mAyAmALavagauLa-madhyAdi-krithi

pOvOm vArIr
shankarAbharaNa-rUpaka-krithi

purakkavE avatarittAn
kalyANi-Adi-krithi

rAdhA mukha kamala
hindustAnikApi-Adi-krithi

rAjagOpAla
tODi-rUpaka-krithi

rAjan mahArAjan
husEni-Adi-krithi

rAmA idu
kalyANi-Adi-krithi

rAma nAma amrta
khamAs-Adi-krithi

rAmacandran malaraDi
kalyANi-Adi-krithi

rAmam bhajata
shrI-Adi-krithi

rAmanai bhajittAl
mANd-Adi-krithi

ranganai tudippOrkku
cakaravAka-Adi-krithi

sA sabhA
hamsadhvani-rUpaka-krithi

sadAshiva kumArA
shuddhasAvEri-Adi-krithi

sAdhu janangaLai
sAvEri-Adi-krithi

sakala bhuvana
kEdAra-rUpaka-krithi

sakala lOka
latAngi-Adi-krithi

sAmagAna lOlanE
hindOLa-Adi-krithi

sAmajavara
madhyamAvati-Adi-krithi

sAmbashivA enrE
kIravANi-Adi-krithi

sAnandAntaranga
simhEndramadhyam-Adi-krithi

sangIta trimUrtigaLai
kEdAragauLa-Adi-krithi

sArasa pUmpAdam
behAg-Adi-krithi

sarasvati annaiyE
kharaharapriyA-Adi-krithi

sarasvati dayai
sarasvati-Adi-krithi

sarvalOka sharaNya
nAdanAmakriyA-Adi-krithi

sarvEshA aDimaiyai
bilahari-Adi-krithi

saundarya veLLam
mOhana-Adi-krithi

shambhO sadAshiva
shuddhasAvEri-Adi-krithi

shambhO umApatE
kAmavardhini-Adi-krithi

shankara dayAkarA
harikAmbhOji-khaNDa cApu-krithi

shankara purahara
vasantA-Adi-krithi

shankarai dayAkarI
bEgaDA-Adi-krithi

shankaranai paNI manamE
nAdanAmakriyA-Adi-krithi

shAradE vINA vAdana
dEvagAndhAri-Adi-krithi

sharaNam aiyappA
mukhAri-cApu-krithi

sharavaNabhava guhanE
kannaDa-Adi-krithi

sharavaNabhava guhanE
madhyamAvati-Adi-krithi

shendil ANDavan
kharaharapriyA-rUpaka-krithi

shendil vaLar (kaNNigaL)
khamAs-tisra Adi-krithi

shikkal mEviya
kAmbOji-rUpaka-krithi

shiridEnum
bhairavi-khaNDa jhampa-krithi

shiridum kavalaippaDAdE
kharaharapriyA-Adi-krithi

shiva perumAn
suraTi-Adi-krithi

shivagangA
punnAgvarALi-Adi-krithi

shivakAma sundari
mukhAri-Adi-krithi

shivAya namavenrE
kuntalavarALi-Adi-krithi

shOdanai shumaikka
kApi-Adi-krithi

shOdanai tagAdayyA
kharaharapriyA-Adi-krithi

shollu pAppA
mukhAri-adi-krithi

shrI gaNapatiyE
dEvamanOhari-Adi-krithi

shrI gaNEsha
tilang-Adi-krithi

shrI harE
mAyAmALavagauLa-Adi-krithi

shrI harE krSNa
nATa-Adi-krithi

shrI harE nArAyaNa
mAyAmALavagauLa-Adi-krithi

shrI jagadambikaiyE
latAngi-rUpaka-krithi

shrI mahA
kAmavardhini-Adi-krithi

shrI padmanAbhA
kEdAragauLa-Adi-krithi

shrI rAdhA
behAg-rUpaka-krithi

shrI rAma jayamangaLam
suraTi-Adi-krithi

shrI rAma nAma
aThANA-Adi-krithi

shrI rAmabhadrA
suraTi-Adi-krithi

shrI rAmabhadrA
sAramati-Adi-krithi

shrI rAman
nArAyaNagauLa-Adi-krithi

shrI SaNmukham
Bhairavi-Adi-krithi

shrI shailapatiyE
kAmbhOji-Adi-krithi

shrI vallI
naTabhairavi-Adi-krithi

shrI vAtApi
sahAnA-Adi-krithi

shrI vishvanAtham
bhairavi-Adi-krithi

shrIdhara venkatEsham
kalyANi-cApu-krithi

shrInivAsa tava
kharharapriyA-rUpaka-krithi

shrInivAsa tiru
hamsAnandi-Adi-krithi

singAra vElavan
Anandabhairavi-Adi-krithi

soppana vAzhvil
rAgamAlikA-Adi-krithi

sundara rUpa
shankarAbharaNa-Adi-krithi

sundarEshvarA
maNirangu-rUpaka-krithi

sundarEshvaranE
kalyANi-Adi-krithi

svAmi ItaramA
kEdAra-Adi-krithi

svAmi nAn unran (varNam)
nATakuranji-Adi-krithi

svAmi nI (padavarNam)
shrIranjani-Adi-krithi

svAmi sharaNam
Anandabhairavi-Adi-krithi

svAmi shiridum
nAgasvarAvaLi-Adi-krithi

svAmi unnai (varNam)
Arabhi-Adi (2 kaLai)-krithi

svAmi unran (varNam)
bilahari-Adi-krithi

svAmikku sari
kEdAragauLa-cApu-krithi

tAmadam En
tODi-Adi-krithi

tAmasamA ammA
kuntalavarALi-Adi-krithi

tamizh maNam
maNIrangu-Adi-krithi

tandai tAi
dEvamanOhari-Adi-krithi

taNikai vaLar
tODi-khaNDacApu-krithi

taNikEshanai paNindu
tODi-Adi-krithi

tanjam enrAlE (varNam)
AbhOgi-Adi-krithi

tanjam nIyE
tODi-Adi-krithi

tannai bhajikkalAgAdA
aThANA-Adi-krithi

taruNm IdaiyyA
shivaranjani-rUpaka-krithi

tatvamariya
rItigauLa-Adi-krithi

tava caraNau
tODi-rUpaka-krithi

tAyE bhairaviyE
bhairavi-Adi-krithi

tAyE EzhaipAl
bhairavi-adi-krithi

tAyE nInE
bhairavi-Adi-krithi

tAyin maNikkoDi
sALagabhairavi-Adi-krithi

tAyumAnavanE
khamAs-Adi-krithi

tEril ErinAn
kalyANi-rUpaka-krithi

tirukkumaranAi
shankarAbaraNa-dEshAdi-krithi

tirupparam kunra
hindOLa-Adi-krithi

tiruvaDi paNiyum
sAvEri-Adi-krithi

tiruvaLar
khamAs-Adi-krithi

tiruvaruL purivaiyE
shuddhadhanyAsi-Adi-krithi

tiruvaruL tandaruLvAi
bEgaDa-Adi-krithi

tiruvaruL tara
aThANA-Adi-krithi

tiruvazhundUr
dhanyAsi-tripuTa-krithi

tudikkaiyanai nI
mOhana-Adi-krithi

tuNai nIyE
kalyANi-Adi-krithi

tuNai purindaruL
hindOLa-Adi-krithi

ulaga vAzhilum
aThANA-Adi-krithi

ulaga vAzhvil
sAvEri-Adi-krithi

uLLam iranguvadun
kAnaDA-Adi-krithi

uLLamirangi
hamsadhvani-Adi-krithi

umaiyOr bhAganE
nATa-rUpaka-krithi

un pAdam aladu
kalyANi-Adi-krithi

un padam nambina
rItigauLa-Adi-krithi

un pAdamE
punnAgavarALi-Adi-krithi

unadu dayai
kAmavardhani-tripuTa-krithi

unai allAl vErE
kalyANi-Adi-krithi

unai dinam
sAvEri-Adi-krithi

unai nambi
cakravAka-cApu-krithi

unaiyalAl gati
balahamsa-Adi-krithi

unaiyallAl gati
kalyANi-Adi-krithi

unakkum enakkum
mAyAmALavagauLa-Adi-krithi

uNDenru nambu
kAmbhOji-Adi-krithi

uNDenru urudi
harikAmbOji-rUpaka-krithi

uNDu kuladeiva
tODi-Adi-krithi

unnai bhajikka
bEgaDa-Adi-krithi

unnai ninaindu
cakravAka-Adi-krithi

unnai ninandAlE
cenjuruTi-Adi-krithi

unnait-tudikka
kunthaLavarALi-Adi-krithi

vA gaNapatiyE
shuddhasAvEri-Adi-krithi

vA vA mativadanE
paraju-Adi-krithi

vaLLI kAntA
simhEndramadhyam-Adi-krithi

vAna inbamum peridO
bhImpalAs-RUpaka-krithi

vandadellAm
husEni-Adi-krithi

vandaruLvAi murugA
dEvamanOhari-Adi-krithi

vandaruLvAi tOghai
kAmavardhini-Adi-krithi

vANI aruL
dhanyAsi-Adi-krithi

vAnOr vaNangum
Anandabhairavi-Adi-krithi

varalakSmi nIyE
sALagabhairavi-Adi-krithi

vAyu kumAran
kalyANi-adi-krithi

vEnkaTaramaNA pankaja
kalyANi-Adi-krithi

vEnkaTaramaNA un tiru
latAngi-rUpaka-krithi

vErillai nIyE
suraTi-Adi-krithi

vEru tuNai
dhanyAsi-jhampa-krithi

vighna vinAyaka
madhyamAvati-Adi-krithi

vINE azhiyAdE
kharaharapriyA-Adi-krithi

vishAlAkSi nAyakan
bEgaDa-Adi-krithi

vishvanAthA
dEvagAndhAri-Adi-krithi

yadukula tilakA
hamIrkalyANi-Adi-krithi

yamunA tIrE
mAND-Adi-krithi

yArammA nI
SaNmukhapriyA-Adi-krithi

yashOdA bAlA
rAgamAlikA-Adi-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

Mudra:	Harikesha
Languages used:	Telugu, Sanskrit

Genre Carnatic: Krithi

Compositions:

Adityan Devadidevam	Mayamalavagaula	Adi	Krithi
Ajam haram Ambikavanam	Nilambari	Adi	Krithi
Amba mahavani	Saraswati Manohari	Khanda Chapu	Krithi
Ambavanina	Keeravani	Adi	Krithi
Anagham akhilandam	Mandari	Rupaka	Krithi
Anandamana sangeetham	Kambhoji	Adi	Krithi
Anandapuram haram	Vijayasree	Adi	Krithi
Ananthapadmanabham	Malahari	Rupaka	Krithi
Ananthaya sarvaya	Bauli	Adi	Krithi
Andavan darisanamae	Jonpuri	Adi	Krithi
Anekatame	Vijayanagari	Adi	Krithi
Angaraka Mangalamurthye	Ritigaula	Rupaka	Krithi
Aniswaram abhishekaram	Charukesi	Adi	Krithi
Anthakasura subane	Sahana	Rupaka	Krithi
Aparajithe amarasanuthe	Kannada	Adi	Krithi
Apavarga pradam asraye	Pasupatipriya	Adi	Krithi
Arrukkum adangada	Begada	Adi	Krithi
Arya Devi	Sahana	Adi	Krithi
Astamurthim sishtamurthim	Gaulipantu	Misra Chapu	Krithi
Athisayavara	Mandari	Adi	Krithi
Atisundaram avyaktham	Simhendramadhyamam	Rupaka	Krithi
Avan seyalauni	Hamirkalyani	Adi	Krithi
Bale paripahi sahu	Begada	Rupaka	Krithi
Balochanam bhaga	Saurashtram	Misra Chapu	Krithi
Balumo samayannu	Sahana	Khanda Chapu	Varnam
Bhagala Deviya	HanumaThodi	Adi	Krithi
Bhagavate rudraya	Kurinji	Adi	Krithi
Bhajamyaham avyayam	Nagagandhari	Adi	Krithi
Bhakthavalsala paramesvara	Karnataka Bihag	Rupaka	Krithi
Bhandasuravimardini	Manirang	Rupaka	Krithi
Bhargam pasupatim	Jingla	Misra Chapu	Krithi
Bhavapasa mochakam	Pushpalatika	Jhampa	Krithi
Bhujanga Bhushana	Chenchukamboji	Adi	Krithi
Bhutha pataye namo	Nagasvaravali	Adi	Krithi
Bhuvaneswari alita	Mohanakalyani	Adi	Krithi
Bindupeetha kritavase	Huseni	Misra Chapu	Krithi
Chakra ragarathe	Dharmavathi	Rupaka	Krithi
Chakresi pradeepa sri	Chakrapradeepta	Adi	Krithi
Chandamundasiraschethry	Garudadhwani	Rupaka	Krithi
Chandrashekara vibushite	Sankarabharanam	Adi	Krithi
Charuvikrama	Hamsadhwani	Adi	Krithi
Chidanikunda sambhute	Ataana	Adi	Krithi
Dakshatvaraharam	Surutti	Adi	Krithi
Dandina Sri Chandikambe	Salaga Bhairavi	Adi	Krithi
Devam kavachinam	Bangala	Adi	Krithi
Devi damshrakarala	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	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