tag:blogger.com,1999:blog-32070729922065190762024-03-13T23:39:38.804-07:00CARNATIC MUSIC GUIDEThis is a site containing information all about Carnatic Music.Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.comBlogger57125tag:blogger.com,1999:blog-3207072992206519076.post-35378481041317650942008-08-04T22:58:00.000-07:002008-08-04T23:18:53.841-07:00Dr. M. Balamuralikrishna<a href="http://bp1.blogger.com/_izbXUVoYKD4/SJfvd3INveI/AAAAAAAAAGQ/7OfNDvg7W7U/s1600-h/balamuralikrishna.jpg"><img id="BLOGGER_PHOTO_ID_5230912788507770338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/SJfvd3INveI/AAAAAAAAAGQ/7OfNDvg7W7U/s400/balamuralikrishna.jpg" border="0" /></a><br /><p align="center"><strong><span style="color:#ff0000;"></span></strong></p><p><strong><span style="color:#ff0000;"></span></strong></p><p><strong><span style="color:#ff0000;"></span></strong></p><p><strong><span style="color:#ff0000;"></span></strong></p><p><strong><span style="color:#ff0000;">Musical Background</span>:<br />Mangalampalli Balamurali Krishna (M. Balamuralikrishna, Mangalampalli Balamuralikrishna, M. Balamurali Krishna) (b. Sankaraguptam, Andhra Pradesh, India, July 6, 1930) is a legendary Carnatic Music (south Indian classical) composer, poet, vocalist, multi-instrumentalist, innovator and musical iconoclast. His magnificiently rich and instantly recognizable voice extends, with perfect control, over three octaves.Balamuralikrishna has consistently displayed a mastery of classical musical traditions of India and has composed more than four hundred pieces. In addition to performing more than 18,000 concerts throughout the world, Balamuralikrishna has released more than 250 cassettes in his native country. The "Bala" in his name means "child", and was added when he first gained fame as a child prodigy performing vocal concerts at the age of five. His father Pattabiramayya was a well known musician and could play the flute, violin and veena and his mother Suryakantamma was an excellent veena player. Balamuralikrishna thus began his musical career at a very young age. He soon mastered a variety of instruments, melodic and rhythmic, and is the only musician ever to be honoured with All India Radio's "Top Grade" for seven different performance areas. He is an enterprising instrumentalist who plays violin, viola, khanjira, veena, mridangam and other instruments. He is also the only musician ever to win National Awards in India for classical music, music direction and film playback singing.<br />While his native tongue is Telugu, he sings with crystal-clear lyrical enunciation not just in Telugu but also in Kannada, Sanskrit, Tamil and less often, in a few other languages as well. His mesmerizing vocal music combines a charmingly deep voice, effortless control over the notes, extraordinary musical knowledge, spontaneous on-stage musical originality and a consistently accurate rendition of lyrics. Consequently, it has caught the pulse of and endeared itself to vastly diverse audiences across generations, cultures and continents. He belongs to that rarest breed of Carnatic musicians who remain popular with laypersons without watering down the classicism inherent in the ancient artform. His rendition of some of Saint Thyagaraja's kritis is spiritually uplifting. Given the astounding versatility, longevity and resilience of his artistic life, spanning over seven creative and prolific decades, it can be stated without exaggeration that Dr.M.Balamuralikrishna has, for quite some time, been India's most enduring musician. Balamuralikrishna during a concert in Kuwait on 29th March - 2006. Accompanied By Mavelikkara Sathees Chandran(Violin), Perunna G. Harikumar(Mridangom), Manjoor Unnikrishnan(Ghatam) - This was his 25641'th ConcertNearly 400 Carnatic musical compositions are credited to him. New raga(Ganapathi,mahati, sumukham, trisakthi, sarvashri, omkari, janasamodini, manorama, rohini, vallabhi, lavangi, pratimadhyamavathi, sushama etc...) some with only three or four notes, and a new tala (rhythm) system are among his iconoclastic innovations. Such innovations have provoked many criticisms, but his musical inventiveness remains unblunted. Top Hindustani (north Indian classical) musicians have collaborated with him in "jugalbandhis" (duets akin to jamming): including Pandit Bhimsen Joshi, Pandit Hariprasad Chaurasia and Smt. Kishori Amonkar, among others.<br />He appeared as featured soloist with an award-winning British choir, performing the "Gitanjali Suite" with words from Rabindranath Tagore's Nobel Prize-winning poetry and music by Dr. Joel, the noted UK-based Goan composer. His clear diction in several languages prompted an invitation to record Tagore's entire Rabindra Sangeet compositions in Bengali, preserving them for posterity. He has sung in French, and even ventured into jazz fusion, collaborating with the top Carnatic percussion teacher, Sri T.H. Subash Chandran, in a concert for Malaysian royalty.<br />Balamuralikrishna has also proved his talent as a playback singer, music director and actor in several languages. He received National Awards as the best playback singer for 'Hamsageethe' (a Kannada feature film), best music director for 'Madhvacharya', and left an indelible imprint in the hearts of the people with his portrayal as a hero in the Malayalam film in 'Sandhya Kendina Sindooram'<br />Honours have pursued him. He was awarded the prestigious "Padma Vibhushan" title by the Indian government, the "Chevalier des Arts et des Lettres" by the French government, seven doctorates as of 2006, the pro-chancellorship of Telugu University and numerous top musical honours including Sangeetha Kalanidhi of the Madras Music Academy. He was also conferred with the prestigious Raja-Lakshmi Award in the year 1980 by Sri Raja-Lakshmi Foundation,Chennai. The prestigious award "Sangeetha Saraswathi" instituted by Manava Seva Kendra was conferred on him by its founder-guardian Poojya Sri Guruji Viswanath, on 25th June 2005. The city of Vijayawada in Andhra Pradesh, India, has named a road after him. The record-buying public have supported him enthusiastically, prompting record labels to issue hundreds of his recordings. He has become increasingly interested in music therapy, and now performs only occasionally.<br />In the late-1960s, he served as music producer for the Vijayawada and Hyderabad All-India radio station and launched an early morning show of devotional readings, "Bhakthi Ranjani". He served, simulataneously, as the principal of the Government Music college in Vijayawada. Transferring to the All-India radio station in Madras, he settled in the city where he continues to reside.<br />He is believed to have said, "for me, as a creative musician, composition is a daily function that I feel compelled to discharge. I compose because I am made for that and cannot do otherwise. I stumble upon something unexpected. This unexpected element strikes me. I make a note of it. At the proper time, I put it to good use."<br />When music flows from Balamuralikrishna, you can realise what the crazy gopi-s felt in their ecstasy of Divine Love. To be born with music in his heart, to hold a recital at a tender age of only eight-deepavalis, to be at once a master in many instruments, apart from his unfailing purity of voice, tala and raga; these are indeed preciously rare in one single person unless he is a genius [Swami Chinmayananda]. </strong></p><div><strong><span style="color:#ff0000;">Contribution</span>: A highly original musician, Balamuralikrishna is an outstanding composer with about 400 kritis, varnams, tillanas, etc, to his credit, who started composing right from his fourteenth year. Several of his pieces are popular both in the music and dance arena. They are a lovely blend of the intellectual, with highly complex rhythmic and lyrical patterns, but at the same time, instantly appealing. On the inspiration of Swami Vimalananda of Kuttalam Mutt, he composed and later perfected seventy-two songs in the 72-melakarta ragas. One of his publications was 'Janaka Raga Kriti Manjari', a music text. He also has the distinction of having discovered many ragas and composing in them.</strong></div><div><strong></strong> </div><div><strong></strong></div><div><strong></strong></div><div><strong><span style="color:#ff0000;"></span></strong></div><div><strong><span style="color:#ff0000;">Languages used</span>: Sanskrit and Telugu. </strong></div><div><strong> </div></strong><div><span style="color:#ff0000;"></span></div><strong><div><span style="color:#ff0000;"></span></div><div><span style="color:#ff0000;"></span></div><div><span style="color:#ff0000;">Signature</span>: One finds mudras like Muraligana, Balamurali etc in his compositions.<br />Popular compositions: Varnams in ragas like Shanmukhapriya and Tillanas in Kuntalavarali etc.</strong></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com7tag:blogger.com,1999:blog-3207072992206519076.post-46399338963839091812008-01-26T22:16:00.000-08:002008-08-04T23:18:11.061-07:00Sri Tyagaraja Aradhana<a href="http://bp3.blogger.com/_izbXUVoYKD4/R5wjzMLRbTI/AAAAAAAAAFE/0i3IY84ZCuQ/s1600-h/tyagarajarwb.jpg"><img id="BLOGGER_PHOTO_ID_5160038635408551218" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_izbXUVoYKD4/R5wjzMLRbTI/AAAAAAAAAFE/0i3IY84ZCuQ/s400/tyagarajarwb.jpg" border="0" /></a><br /><div><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">The contribution of Saint Tyagaraja, one of the Trinities of Carnatic music, has been immense not only through his compositions but also through his Sishya Parampara, who have preserved and enriched the true tradition of classical music. </span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">Saint Tyagaraja is seen as an Avatharapurusha, who came to this world to savour the souls that suffer in this world. In fact, he is considered an avathara (incarnation) of Saint Valmiki. Tyagaraja’s compositions are rich in devotional and philosophical content. They are noted for their superior structure, superb handling of ragalakshanas and apt choice of raga and words. The world of Carnatic music owes a lot to Saint Tyagaraja for the treasure that he is bestowed on them</span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">Every year on ‘pushya-bahula panchami’ day (incidentally today), thousands of musicians throng the sanctum sanctorum of Saint Tyagaraja at Tiruvaiyaru on the banks of the river Cauvery to offer their musical tributes to the great composer. Saint Tyagaraja is believed to have reached the abode of his favourite diety Sri Rama on this day, in the year 1847. Since then, the ‘Tyagaraja Aradhana’ is commemorated on this day every year.</span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">It is believed that Saint Tyagaraja was born on the 4th of May 1767 at Tiruvaroor. (The life-history of Tyagaraja as we now know, is only from the palm-leaf document of his disciple Sri Venkatramana Baghavathar and from the notoebooks of Sri Krishnaswami Baghavathar (son of Venkatrama Baghavathar)). Tyagaraja was born as the third son to Sri Ramabrahmam and Smt. Seethamma. Sri Ramabrahmam was patronised by the Tanjore prince Thulajaji II. Sri Ramabrahmam earned his living by giving discourses in Ramayana and singing bhajans. Tyagaraja actively participated in the religious activities of his father. Once, during one of the daily ‘poojas’, Tyagaraja sang ‘Namo Namo Raghavaaya Anisam’ in the raga ‘Desiya Thodi’, a krithi which he composed spontaneously.</span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">Upon hearing this krithi, Sri Ramabrahmam brought Tyagaraja under the tutelage of Sri Sonti Venkataramayya for advanced musical training. Then on, Saint Tyagaraja composed hundreds of krithis wherein he extolled his favourite diety as a brave warrior, a King, a Hero. Krithis praising Sri Rama’s eloquance, gait, skill in archery were also composed during this period. Saint Tyagaraja is said to have had a glimpse of Sage Narada through his immense devotion. Sage Narada is supposed to have had gifted the musical treatise ‘Swararnavam’ and Tyagaraja’s krithis ‘Sri Narada’ and ‘Vara Narada’ express his gratitude to the Great Sage.</span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">The Five Keerthanas known as ‘Pancha Ratna Krithis’ sung during the Aradhana are Jagadananda (Nata), Dudukugala (Gowla), Sadinchanae (Arabhi), Kana kana Ruchira (Varali) and Endharo Mahanu Bhavulu (Sri). These krithis are like epics in size and content.</span><br /><br /><span style="FONT-WEIGHT: bold; COLOR: rgb(51,51,255)">A word about his devotion and love of God. Like a doting child to its mother or the suckling calf to the cow, he runs to his Rama to report, explain, complain, appeal, solicit, beg, weep or to protest and get angry with. Rama was the warp and woof of his very existence.</span></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com6tag:blogger.com,1999:blog-3207072992206519076.post-21938844346428475252007-12-15T20:01:00.000-08:002008-08-04T23:18:11.059-07:00HISTORY OF CARNATIC MUSICHISTORY OF CARNATIC MUSIC<br /><br />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.<br /> <br />THE ANCIENT PERIOD (Vedic period - 4th Century AD)<br /> <br />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:<br /><br />Vedas:<br /><br /> * 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).<br /><br /> * Several references to music of musical instruments are seen in the Vedas.<br /><br /> * 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.<br /><br /> * 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.<br /><br /> * The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.<br /><br /> * 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.<br /><br /><br /><br />Bharata's Natyasastra (The 2nd - 4th century AD)<br /> <br />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.<br /><br />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).<br /><br />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).<br /> <br />MEDIEVAL PERIOD (5th - 16th Century AD)<br /> <br />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.<br /><br /> * 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.<br /><br /> * 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.<br /><br /> * 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.<br /><br /> * 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.<br /><br /> <br />Sangeeta Ratnakara<br /> <br />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.<br /><br />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.<br /><br /><br />Musical Forms<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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<br /><br />MODERN PERIOD (17th century to present day)<br /><br />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.<br /> <br /><br />Theoretical aspects<br /> <br /><br />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).<br /><br />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.<br /><br />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.<br /> <br />Practical aspects<br /><br /><br />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)<br /><br />Musical concepts<br /><br /><br />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.<br /><br />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.<br /> <br />Music Education<br /><br /><br />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.<br /><br />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.<br /><br /><!-- multiply:no_crosspost --><p class="multiply:no_crosspost"></p>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com3tag:blogger.com,1999:blog-3207072992206519076.post-63664618077968153262007-08-21T22:59:00.000-07:002008-08-04T23:30:45.234-07:00G. N. Balasubramaniam (1910-1965) Biography<a href="http://bp1.blogger.com/_izbXUVoYKD4/SJfyA_yFMeI/AAAAAAAAAGY/2FsWbJY_JmY/s1600-h/gnb.jpg"><strong><img id="BLOGGER_PHOTO_ID_5230915591149531618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/SJfyA_yFMeI/AAAAAAAAAGY/2FsWbJY_JmY/s400/gnb.jpg" border="0" /></strong></a><br /><strong><span style="color:#ff0000;">Biography</span></strong><br /><strong></strong><br /><strong> 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.<br />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.<br />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.<br />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.<br />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.<br /></strong><strong></strong><br /><strong>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. </strong><br /><strong></strong><br /><strong>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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.</strong><br /><div><strong></strong> </div><div><strong><span style="color:#ff0000;">Compositions</span>:</strong></div><div><a href="http://www.karnatik.com/c3040.shtml"><strong>AMBORUHA PAADAME (VARNAM) - RANJANI</strong></a><a href="http://www.karnatik.com/c3041.shtml"><strong>BHAARAMAA EE BAALUNI - HAMSANAADAM</strong></a><a href="http://www.karnatik.com/c1206.shtml"><strong>BHUVANATRAYA SAMMOHANAKARA - MOHANAM</strong></a><a href="http://www.karnatik.com/c3042.shtml"><strong>EN MANATTAAMARAI - REETIGOWLA</strong></a><a href="http://www.karnatik.com/c3043.shtml"><strong>ENTO MORALIDA LEDAA - KANNADA</strong></a><a href="http://www.karnatik.com/c3044.shtml"><strong>GATI VEREVARAMMAA - BHAIRAVI</strong></a><a href="http://www.karnatik.com/c3045.shtml"><strong>INTA PARAAKU NEEVE - BHAIRAVI</strong></a><a href="http://www.karnatik.com/c3046.shtml"><strong>KAMALAASINI SUNDARI - KALYAANI</strong></a><a href="http://www.karnatik.com/c1236.shtml"><strong>KAMALA CARANE - AMRITA BEHAAG</strong></a><a href="http://www.karnatik.com/c3047.shtml"><strong>KANAVILUM KAMALA - SHREE RANJANI</strong></a><a href="http://www.karnatik.com/c3048.shtml"><strong>KAARANAMEMI KAANANE - AANDOLIKAA</strong></a><a href="http://www.karnatik.com/c3049.shtml"><strong>KARIMUKHA VARADAA - NAATTAI</strong></a><a href="http://www.karnatik.com/c3050.shtml"><strong>KARUNA JOODA RAADAA - SAHAANAA</strong></a><a href="http://www.karnatik.com/c3051.shtml"><strong>KAVALAI ELLAM - SARASWATI</strong></a><a href="http://www.karnatik.com/c3052.shtml"><strong>KUVALAYAAKSHHI KUSHALAM (VARNAM) - KATANAKUTOOHALAM</strong></a><a href="http://www.karnatik.com/c3053.shtml"><strong>MADHURAAPURI KALYAANI - POORVI KALYAANI</strong></a><a href="http://www.karnatik.com/c3054.shtml"><strong>MAMA KULESHWARAM - TODI</strong></a><a href="http://www.karnatik.com/c3055.shtml"><strong>MANASAARAKANE NAMMAKA - AABHOGI</strong></a><a href="http://www.karnatik.com/c3056.shtml"><strong>MAARAKOTI SUNDARI - BAHUDAARI</strong></a><a href="http://www.karnatik.com/c3057.shtml"><strong>MARAVANU NE NINNU - AARABI</strong></a><a href="http://www.karnatik.com/c3058.shtml"><strong>MARIVERE GATI NAAKEVARU - MAALAVI</strong></a><a href="http://www.karnatik.com/c3059.shtml"><strong>MOHANA KRSNA - KATANAKUTOOHALAM</strong></a><a href="http://www.karnatik.com/c3060.shtml"><strong>NAA MORALANU - NAARAAYANI</strong></a><a href="http://www.karnatik.com/c3061.shtml"><strong>NAAKABHAYA VARAMOSAGI - NAATTAI KURINJI</strong></a><a href="http://www.karnatik.com/c3062.shtml"><strong>NANNU BROVA NEE - SHENJUKAAMBHOJI</strong></a><a href="http://www.karnatik.com/c3063.shtml"><strong>NEE ALLAAL INI - KAANADAA</strong></a><a href="http://www.karnatik.com/c3064.shtml"><strong>NEE DAYARAADAA (VARNAM) - AANDOLIKAA</strong></a><a href="http://www.karnatik.com/c3065.shtml"><strong>NEE CARANAMBUJAMUNU - KEERAVAANI</strong></a><a href="http://www.karnatik.com/c3066.shtml"><strong>NEE DAYA GALGUNO - SHANMUGAPRIYAA</strong></a><a href="http://www.karnatik.com/c1137.shtml"><strong>NEE PAADAME - NALINAKAANTI</strong></a><a href="http://www.karnatik.com/c3067.shtml"><strong>NEE SAMAANAMEVARU - SHUBHAPANTUVARAALI</strong></a><a href="http://www.karnatik.com/c1205.shtml"><strong>NINNU POGADA - KUNTALA VARAALI</strong></a><a href="http://www.karnatik.com/c3068.shtml"><strong>NINNU VINAA VEREVARU - MAALAVI</strong></a><a href="http://www.karnatik.com/c3069.shtml"><strong>NIRATAMUGAA NINNE - UDAYA RAVI CANDRIKAA</strong></a><a href="http://www.karnatik.com/c3070.shtml"><strong>NIRAVADHI SUKHA DAAYAKI - MALAYAMAARUTAM</strong></a><a href="http://www.karnatik.com/c3071.shtml"><strong>PAADA BHAJANA - KAMAAS</strong></a><a href="http://www.karnatik.com/c3072.shtml"><strong>PADA MALARINAIYE - BEGADA</strong></a><a href="http://www.karnatik.com/c3073.shtml"><strong>PARAAMUKHAMELA NAMMA - KAANADAA</strong></a><a href="http://www.karnatik.com/c1227.shtml"><strong>PARAMAKRUPAA SAAGARI - YADUKULA KAAMBHOJI</strong></a><a href="http://www.karnatik.com/c3074.shtml"><strong>PARITAAPAMULEKA - SHANMUGAPRIYAA</strong></a><a href="http://www.karnatik.com/c3075.shtml"><strong>PORUMAIYAI IZHAINDEN - SIMHENDRA MADHYAMAM</strong></a><a href="http://www.karnatik.com/c3076.shtml"><strong>RANJANI NIRANJANI - RANJANI</strong></a><a href="http://www.karnatik.com/c1115.shtml"><strong>SAAMAGAANA LOLE - HINDOLAM</strong></a><a href="http://www.karnatik.com/c1209.shtml"><strong>SADAA PAALAYA - MOHANAM</strong></a><a href="http://www.karnatik.com/c1254.shtml"><strong>SAMAANA RAHITE - SAARANGA TAARANGINI</strong></a><a href="http://www.karnatik.com/c3077.shtml"><strong>SANTATAMU NINNE - VALACI</strong></a><a href="http://www.karnatik.com/c2517.shtml"><strong>SARASWATI NAMOSTUTE - SARASWATI</strong></a><a href="http://www.karnatik.com/c3078.shtml"><strong>SHANKARA MAHAADEVA - DEVA MANOHARI</strong></a><a href="http://www.karnatik.com/c3079.shtml"><strong>SHIVAANANDA KAAMAVARDHANI - KAAMAVARDHANI</strong></a><a href="http://www.karnatik.com/c1264.shtml"><strong>SHREE CAKRARAAJA NILAYE - SHIVASHAKTI</strong></a><a href="http://www.karnatik.com/c3080.shtml"><strong>TAAMASAMIKA TAALANU - AABHOGI</strong></a><a href="http://www.karnatik.com/c3081.shtml"><strong>UNNADIYE GATI - BAHUDAARI</strong></a><a href="http://www.karnatik.com/c3082.shtml"><strong>VADARERAMMA NEE PAADA - SAAVERI</strong></a><a href="http://www.karnatik.com/c3083.shtml"><strong>VARADA NIPUNA - POORNACANDRIKAA</strong></a><a href="http://www.karnatik.com/c1171.shtml"><strong>VARA VALLABHA - HAMSADWANI</strong></a><br /></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com2tag:blogger.com,1999:blog-3207072992206519076.post-79097236909730653462007-08-16T22:29:00.000-07:002008-08-04T23:18:11.068-07:00Jayachamaraja Wodeyar (1919 - 1974) Biography and Works<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp2.blogger.com/_izbXUVoYKD4/RsUzr6ocwpI/AAAAAAAAACk/tKzqCsN2QJM/s1600-h/jayachamaraja_wodeyar.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://bp2.blogger.com/_izbXUVoYKD4/RsUzr6ocwpI/AAAAAAAAACk/tKzqCsN2QJM/s320/jayachamaraja_wodeyar.jpg" alt="" id="BLOGGER_PHOTO_ID_5099538982633259666" border="0" /></a><br /><p style="font-weight: bold; color: rgb(255, 0, 0);"> <span style=";font-size:130%;" >Biography</span></p><p><span style=""><span style="font-size:0;"><span style="color: rgb(255, 0, 0);"><br /></span></span></span></p><p style="font-weight: bold;"><span style=";font-size:100%;" ><span style="color: rgb(255, 0, 0);">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 <span style="color: rgb(255, 0, 0);"> and the last Mughal emperor - ghazal poet Bahadur Shah Zafar <span style="color: rgb(255, 0, 0);">.</span> </span></p><p> <span style=";font-size:100%;" ><span style="color: rgb(255, 102, 102);">Jayachamaraja Wodeyar</span> was born in Mysore on <span style="color: rgb(255, 102, 102);">18th July, 1919</span> 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. </span></p><p> <span style=";font-size:100%;" >Jayachamaraja Wodeyar ascended to the throne in <span style="color: rgb(255, 102, 102);">1940</span>, after the death of Chamaraja Wodeyar IV and ruled till 1950</span>, when he handed over the state to the Indian republic, ending <span style="color: rgb(255, 102, 102);">550</span> years of Wodeyar rule. But, he continued to be the constitutional head of Mysore state as the Raja Pramukh <span style="color: rgb(255, 102, 102);">(1950-56),</span> till the post was abolished. He was then the first governor of Mysore state <span style="color: rgb(255, 102, 102);">(1956-65) </span>and also Madras state <span style="color: rgb(255, 102, 102);">(1964-67)</span>. </span></p><p> <span style=""></span></p><p> <span style=";font-size:100%;" >As a great patron of music, he had several artists in his court - </span><span style="color: rgb(255, 0, 0);font-size:100%;" >Tiger Varadachariar</span><span style="font-size:100%;">Mysore Vasudevachar</span><span style="color: rgb(255, 0, 0);font-size:100%;" >, </span><span style="font-size:100%;">Muthaiah Bhagavathar<span style="color: rgb(255, 0, 0);font-size:100%;" >, Gotuvadyam Narayana Iyengar and Ariyakudi Ramanuja Iyengar. Jayachamaraja Wodeyar</span><span style="font-size:100%;"> 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 </span><span style="color: rgb(255, 102, 102);font-size:100%;" >1945</span><span style="font-size:100%;">.</span> </span></span></p> <i style="color: rgb(255, 0, 0);"><b>Mudra:</b></i> Shrividhya<br /><br /><i style="color: rgb(255, 0, 0);"><b>Genre</b></i><span style="color: rgb(255, 0, 0);"> </span><span style="font-weight: bold; color: rgb(255, 0, 0);">Carnatic</span><span style="color: rgb(255, 0, 0);">:</span> Krithi, Varna<br /><br /><table><tbody><tr align="left" valign="top"><td><i><b><span style="color: rgb(255, 0, 0);">Languages used:</span><br /></b></i></td> <td>Sanskrit</td> </tr> </tbody></table><br /><span style="font-weight: bold; font-style: italic; color: rgb(255, 0, 0);">Compositions:</span><br /><br /><table border="1" width="710"><tbody><tr><td> Ambujakshi </td> <td> Simhavahini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Balakrishnam </td> <td> Nilaveni </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhajare mohana </td> <td> Bhanuchandrika </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Bhooribhagyalahari </td> <td> Pratapavarali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Brahmananda valaye </td> <td> Maand </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Chintayami Jagadambha </td> <td> Hindolam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Chinthaye sada </td> <td> Sindhuramakriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Chintyami santhanama </td> <td> Varunapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Devi Jadambika </td> <td> Vasantha Bhairavi </td> <td> Khanda Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Devi Sri Meenakshi </td> <td> Chakravakam </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Gam Ganapathi </td> <td> Durvangi </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Gamganapathe sada </td> <td> Nagasvaravali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kamakshi pahi mam </td> <td> Shivakambodi </td> <td> Khanda Triputa </td> <td> Krithi</td> </tr> <tr> <td> Kshirasagara </td> <td> Mayamalavagaula </td> <td> Dhruva </td> <td> Krithi</td> </tr> <tr> <td> Manavathim </td> <td> Kokilapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Matanga kanyam </td> <td> Sudha Thodi </td> <td> Khanda Triputa </td> <td> Krithi</td> </tr> <tr> <td> Mrithunjayam </td> <td> Ragavardhini </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Nadarupini vandeham </td> <td> Kokilapanchamam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Nagalinga Maheswaram </td> <td> Sankarabharanam </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Neelakantam Mahadevam </td> <td> Purvikalyani </td> <td> Misra Triputa </td> <td> Krithi</td> </tr> <tr> <td> Pahi mam </td> <td> Supradeepa </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pahimam Sitarama </td> <td> Hindola Desika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pahimam Sri </td> <td> Jayasamavardhani </td> <td> Khanda Triputa </td> <td> Krithi</td> </tr> <tr> <td> Pahimam Sri Parameswari </td> <td> Hindola Durbar </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Paripahi mam </td> <td> Subhapanthuvarali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Rajarajeswarim </td> <td> Balachandrika </td> <td> Khanda Triputa </td> <td> Krithi</td> </tr> <tr> <td> Saraswathim bhagavathim </td> <td> Hamsavinodhini </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Chakrapurvasini </td> <td> Sudha Lalitha </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Gayatri </td> <td> Gamanasrama </td> <td> Druva </td> <td> Krithi</td> </tr> <tr> <td> Sri Jalandhara masrayamyaham </td> <td> Gambhiranatta </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Nagalingam </td> <td> Vachaspathi </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Sri Ranganathani </td> <td> Kalyanavasantham </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Sri vidya lalitham </td> <td> Nadabrahma </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Vidyamodini </td> <td> Kokilabhashini </td> <td> Tisra Triputa </td> <td> Krithi</td> </tr> <tr> <td> Sri Vidyapati </td> <td> Lalitha Panchamam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srichamundeswari </td> <td> Kannada </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srilalitham maha </td> <td> Nagadhvani </td> <td> Khanda Triputa </td> <td> Krithi</td> </tr> <tr> <td> Suranandinee </td> <td> Suranandini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Suvarnangi </td> <td> Suvarnangi </td> <td> Misra Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Swaminatha palaya </td> <td> Charukesi </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Vandeham Sive </td> <td> Kathanakuthuhalam </td> <td> Matya </td> <td> Krithi</td> </tr> <tr> <td> Vandehamsada </td> <td> Hamsanatini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vijayatam sagare </td> <td> Vishwambhari </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Vimalambike paripahim </td> <td> Vijayavasantha </td> <td> Adi </td> <td> Krithi</td></tr></tbody></table>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com3tag:blogger.com,1999:blog-3207072992206519076.post-80190788383954727422007-08-16T22:15:00.000-07:002008-08-04T23:18:11.064-07:00Papanasam Shivan (1890 - 1973) Biography and Works<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp1.blogger.com/_izbXUVoYKD4/RsUw2qocwoI/AAAAAAAAACc/xuDSaGgxZ5M/s1600-h/papanasam_sivan.jpg"><img fix="tofix" src="http://bp1.blogger.com/_izbXUVoYKD4/RsUw2qocwoI/AAAAAAAAACc/xuDSaGgxZ5M/s320/papanasam_sivan.jpg" fix="tofix" style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://bp1.blogger.com/_izbXUVoYKD4/RsUw2qocwoI/AAAAAAAAACc/xuDSaGgxZ5M/s320/papanasam_sivan.jpg" alt="" id="BLOGGER_PHOTO_ID_5099535868781970050" border="0" /></a><span style="font-weight: bold;font-size:130%;" ><span style="color: rgb(255, 0, 0);">Biography</span></span><p style="font-weight: bold;"><span style="font-size:100%;"><span style="color: rgb(255, 0, 0);">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 </span><i style="color: rgb(255, 0, 0);">Tamil Thyagaraja</i><span style="color: rgb(255, 0, 0);">.</span> </span></p><p> <span style="font-size:100%;">Papanasam Shivan was born in <span style="color: rgb(255, 102, 102);">1890</span> in Polaham, Tanjavur district. His real name was <span style="color: rgb(255, 102, 102); font-style: italic;">Polagam Ramaiah</span>. 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. </span></p><p> <span style="font-size:100%;">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 <span style="color: rgb(255, 102, 102);">1972</span> he was awarded, belatedly, <span style="font-style: italic; color: rgb(255, 102, 102);">Sangeetha Kalanidhi</span> by Madras Music academy.</span></p><p><br /></p><table><tbody><tr align="left" valign="top"><td style="color: rgb(255, 0, 0);"><i><b>Mudra: </b></i><span style="color: rgb(0, 0, 0);">Ramadasan<br /><br /></span></td> <td><br /></td> </tr> <tr align="left" valign="top"> <td><i style="color: rgb(255, 0, 0);"><b>Genre</b></i><span style="color: rgb(255, 0, 0);"> </span><span style="font-weight: bold; color: rgb(255, 0, 0);">Carnatic</span><span style="color: rgb(255, 0, 0);">:</span> Krithi, Varna, Thillana</td> <td><br /></td> </tr> <tr><td style="vertical-align: top;"><br /></td><td style="vertical-align: top;"><br /></td></tr><tr align="left" valign="top"> <td><i><b><span style="color: rgb(255, 0, 0);">Languages </span></b></i><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);">used</span></span><span style="color: rgb(255, 0, 0);">: <span style="color: rgb(0, 0, 0);">Tamil, Sanskrit</span><br /></span></td> <td><span style="font-weight: bold;"> </span><br /></td></tr></tbody></table><br /><span style="font-style: italic; color: rgb(255, 0, 0); font-weight: bold;">Compositions:</span><br /><br /><br />Composition<br />Raaga-Taala-Type<br /><br /><br />abhayAmbikA ramaNa<br />shankarAbharaNa-Adi-krithi<br /><br /><br /> adbhuta lIlaigaLai<br />madhyamAvati-Adi-krithi<br /><br /><br /> aDimai ennai<br />mukhAri-rUpaka-krithi<br /><br /><br /> aDimai mEl<br />nATa-Adi-krithi<br /><br /><br /> aDimaiyin uLLa (kaNNigaL)<br />vasantA-Adi-krithi<br /><br /><br /> aDimalariNai<br />paraju-Adi-krithi<br /><br /><br /> aDittAlum unai<br />nATa-Adi-krithi<br /><br /><br /> ADiya pAdattai<br />kAmavardhini-Adi-krithi<br /><br /><br /> ADum deivam<br />kAmbhOji-Adi-krithi<br /><br /><br /> AduvOm vArungaL<br />kEdAra-Adi-krithi<br /><br /><br /> aiyA nin<br />bilahari-Adi-krithi<br /><br /><br /> aiyan tiruvaDiyai<br />rAgam: pUrvikalyANi-Adi-krithi<br /><br /><br /> aiyappanai paNivOm<br />Arabhi-Adi-krithi<br /><br /><br /> akhilANDa nAyaki<br />shankarAbharaNa-Adi-krithi<br /><br /><br /> akhilANDeshvari<br />shri-Adi-krithi<br /><br /><br /> aLavilAda Anandam<br />bhairavi-Adi-krithi<br /><br /><br /> aLavillaiyE<br />mukhAri-dEshAdi-krithi<br /><br /><br /> amalE amarargaL (bhajan)<br />kuntalavarALi-Adi-krithi<br /><br /><br /> ambA manam<br />kAmavardhini-Adi-krithi<br /><br /><br /> ambA un mEl<br />behAg-Adi-krithi<br /><br /> ambA un pAdam<br />gambhIranATa-Adi-krithi<br /><br /><br /> ambA unaiyE<br />shankarAbharaNa-dEshAdi-krithi<br /><br /><br /> Ananda naTamADum ayyan<br />shuddhadhanyAsi-rUpaka-krithi<br /><br /><br /> Ananda naTamiDum<br />kEdAragauLa-Adi-krithi<br /><br /><br /> Anandabhairavi anaiyum<br />Anandabhairavi-Adi-krithi<br /><br /><br /> AnandamE paramAnandamE<br />kAmbhOji-Adi-krithi<br /><br /><br /> anbilaiyE<br />khamAs-rUpaka-krithi<br /><br /><br /> ANDavan anbE shakti<br />shivaranjani-Adi-krithi<br /><br /><br /> ANDavan nIyE<br />mAyAmALavagauLa-Adi-krithi<br /><br /><br /> ANDavanai nambu<br />sAma-Adi-krithi<br /><br /><br /> ANDavanE unai<br />SaNmukhapriya-rUpaka-krithi<br /><br /><br /> anjalenrE<br />rAgam: bilahari-Adi-krithi<br /><br />annaiyin kAlil<br />rAgamAlikA-Adi-krithi<br /><br /><br /> annaiyum tandaiyum<br />kApi-Adi-krithi<br /><br /><br /> anudinamunai<br />madhyamAvati-Adi-krithi<br /><br /><br /> appan avataritta<br />kharaharapriyA-Adi-krithi<br /><br /><br /> appanum ammaiyum<br />aThANA-Adi-krithi<br /><br /><br /> AraNa poruLE<br />dEvagAndhAri-Adi-krithi<br /><br /><br /> AraNamum Agamum<br />kharaharapriyA-jhampa-krithi<br /><br /><br /> aruL puri<br />sarasvati-Adi-krithi<br /><br /> <br /> arumukhA<br />shuddhasAvEri-Adi-krithi<br /><br /><br /> aruT-tivilai<br />rAgam: husEni-Adi-krithi<br /><br /><br /> attaruNam<br />bhairavi-Adi-krithi<br /><br /><br /> avAng manasa<br />cakravAka-Adi-krithi<br /><br /><br /> bAla pAhi<br />nIlAmbari-Adi-krithi<br /><br /><br /> bAlakrSNa mAm pAhi<br />sAvEri-Adi-krithi<br /><br /><br /> bAlakrSNan<br />dhanyAsi-rUpaka-krithi<br /><br /><br /> bAlasubramaNya<br />kEdAragauLa-rUpaka-krithi<br /><br /><br /> bhAgavatOttama<br />behAg-Adi-krithi<br /><br /><br /> bhajanai sheivAi<br />behAg-Adi-krithi<br /><br /><br /> bhajanai sheivOm<br />naTabhairavi-Adi-krithi<br /><br /><br /> bhArata mAtA<br />naTabhairavi-Adi-krithi<br /><br /><br /> bhArata puNya bhUmi<br />kuntalavarALi-Adi-krithi<br /><br /><br /> bhUmiyil mAniDa (kaNNigaL)<br />sindhubhairavi-Adi-krithi<br /><br /><br /> bhuvana patI<br />kAmbhOji-Adi-krithi<br /><br /><br /> bhuvanEshvari pAdam<br />bEgaDa-rUpaka-krithi<br /><br /><br /> bhuvanEshvari pughal<br />maNirangu-dEshAdi-krithi<br /><br /><br /> bOdhendra gurumUrti<br />pUrvikalyANi-Adi-krithi<br /><br /><br /> cAmuNDEshvari<br />sAvEri-Adi-krithi<br /><br /><br /> candra kalAvatam<br />shankarAbharaNa-Adi-krithi<br /><br /> <br /> caraNa pankajam<br />mAyAmALavagauLa-cApu-krithi<br /><br /><br /> caraNAmbujam<br />shuddhasAvEri-Adi-krithi<br /><br /><br /> cidambara nAthA<br />hEmavati-Adi-krithi<br /><br /><br /> cintai teLindu<br />kalyANi-rUpaka-krithi<br /><br /><br /> cittam irangAdEnaiyyA<br />shahAnA-cApu-krithi<br /><br /><br /> daNDapANi padam<br />rAgaA: maNirangu-Adi-krithi<br /><br /><br /> dasharatAtmajam<br />pUrvikalyANi-rUpaka-krithi<br /><br /><br /> dayAnidhE jAnakIpatE<br />nATa-Adi-krithi<br /><br /><br /> dayAparan shankaran<br />kharaharapriyA-Adi-krithi<br /><br /><br /> dayavillaiyA dayALO<br />kharaharapriyA-Adi-krithi<br /><br /><br /> deivam tuNai<br />SaNmukhapriyA-Adi-krithi<br /><br /><br /> dEsha sEvai<br />mAND-Adi-krithi<br /><br /><br /> dEva dEvanai<br />cenjuruTTi-rUpaka-krithi<br /><br /><br /> dEvadEvan pAdam<br />khamAs-Adi-krithi<br /><br /><br /> dEvi nin<br />bEgaDa-Adi-krithi<br /><br /><br /> dEvi nIyE<br />kIravANi-Adi-krithi<br /><br /><br /> dEvi pAdam<br />tODi-Adi-krithi<br /><br /><br /> dEvI shrI<br />kalyANi-Adi-krithi<br /><br /><br /> dEvi undan<br />mukhAri-Adi-krithi<br /><br />dharma samvardhani<br />nATakuranji-Adi-krithi<br /><br /><br /> dhIm tarana (tillAnA)<br />SaNmukhapriyA-Adi-krithi<br /><br /><br /> dhyAnamE enadu<br />kApi-Adi-krithi<br /><br /><br /> dikku vErillai<br />varALi-Adi-krithi<br /><br /><br /> dinam IdE<br />bhUpALa-Adi-krithi<br /><br /><br /> durgAlakSmi<br />Arabhi-Adi-krithi<br /><br /><br /> ellAm avan sheyal<br />tODi-cApu-krithi<br /><br /><br /> ellAm brahmamayam<br />behAg-Adi-krithi<br /><br /><br /> en manam<br />simhEndramadhyam-Adi-krithi<br /><br /><br /> enadu manam<br />harikAmbhOji-Adi-krithi<br /><br /><br /> enadu uLLamE<br />cenjuruTi-rUpaka-krithi<br /><br /><br /> enda vidam<br />mukhAri-jhampa-krithi<br /><br /><br /> endai gOvindan<br />bilahari-Adi-krithi<br /><br /><br /> engum niraindirukkum<br />kurinji-Adi-krithi<br /><br /><br /> enna sheidAlum<br />kharaharapriyA-Adi-krithi<br /><br /><br /> enna tavam<br />kApi-Adi-krithi<br /><br /><br /> ennai kAttaruLvadu<br />hEmavati-Adi-krithi<br /><br /><br /> ennai shOdanai<br />kalyANi-cApu-krithi<br /><br /><br /> ennai viTTODAdEDA<br />mOhana-Adi-krithi<br /><br />ennALum inda<br />rAgAmukhAri-Adi-krithi<br /><br /><br /> Enunakkinnum<br />kApi-Adi-krithi<br /><br /><br /> gajavadana<br />shrIranjani-Adi-krithi<br /><br /><br /> gAna rasamuDan<br />bEgaDa-rUpaka-krithi<br /><br /><br /> gaNapatiyE karuNAnidhiyE<br />kharaharapriyA-Adi-krithi<br /><br /><br /> gAndhijiyAi<br />hamsadhvani-Adi-krithi<br /><br /><br /> gAndhiyai pOloru<br />cenjuruTi-Adi-krithi<br /><br /><br /> gangai aNi<br />tODi-mishra Eka-krithi<br /><br /><br /> garbhavAsam ariyAda<br />hamsadhvani-Adi-krithi<br /><br /><br /> gati nIyE<br />sahAnA-Adi-krithi<br /><br /><br /> gati udavum<br />RAgamAlika-jhampa-krithi<br /><br /><br /> gaurImanOhara<br />gaurimanOari-Adi-krithi<br /><br /><br /> gOkulam yamunai<br />dEs-Adi-krithi<br /><br /><br /> gOmati tAyE<br />yadukulakAmbhOji-Adi-krithi<br /><br /><br /> gOpAla sajjana<br />dhanyAsi-Adi-krithi<br /><br /><br /> gOpAlanE deivamAm<br />khamAs-Adi-krithi<br /><br /><br /> grahangaLim<br />bhairavi-Adi-krithi<br /><br /><br /> guruvAyUrappA<br />cakravAka-Adi-krithi<br /><br /><br /> haranE innum<br />karnATakabehAg-Adi-krithi<br /><br /><br /> iDadu padam<br />khamAs-Adi-krithi<br /><br /><br />iDaiyarAdun<br />sahAnA-Adi-krithi<br /><br /><br /> iddaraNiyil<br />bEgaDa-cApu-krithi<br /><br /><br /> ihaparamenum iru<br />simhEndramadhyam-Adi-krithi<br /><br /><br /> illai enra<br />kharaharapriyA-tisra Adi-krithi<br /><br /><br /> inbamenbadu<br />kAnaDA-Adi-krithi<br /><br /><br /> inda parAmukhamA<br />mAyAmALavagauLa-rUpaka-krithi<br /><br /><br /> indrajAla (kaNNigaL)<br />kAmavardhini-Adi-krithi<br /><br /><br /> Ini oru kaNam<br />shrIranjani-rUpaka-krithi<br /><br /><br /> IshananbAr<br />kApi-rUpaka-krithi<br /><br /><br /> IshanE inda<br />cakravAka-rUpaka-krithi<br /><br /><br /> jAnakIpatE<br />kharaharapriyA-Adi-krithi<br /><br /><br /> jaya bhErikai<br />kAmbhOji-Adi-krithi<br /><br /><br /> jaya jaya guhA<br />shuddhadhanyAsi-Adi-krithi<br /><br /><br /> jaya vijayIbhava<br />mAND-Adi-krithi<br /><br /><br /> jaya vIra<br />paraju-Adi-krithi<br /><br /><br /> jaya viTThala<br />bilahari-rUpaka-krithi<br /><br /><br /> jE paNDarIsha<br />sOhini-Adi-krithi<br /><br /><br /> jnAna sabhaiyil<br />sArangA-cApu-krithi<br /><br /><br /> jyOti mayamAna (kaNNIgaL)<br />kuriniji-Adi-krithi<br /><br /><br /> kaDaikkaN nOkki<br />tODi-Adi-krithi<br /><br /> kaDaikkaN pArvai<br />khamAs-Adi-krithi<br /><br /><br /> kAdali rAdhaiyai<br />kharaharapriyA-Adi-krithi<br /><br /><br /> kaDalil amizhndiDuvOm<br />maNirangu-Adi-krithi<br /><br /><br /> kadir kAma<br />kAmbhOji-tisra tripuTa-krithi<br /><br /><br /> kai koDuttALaiyyA<br />bEgaDa-Adi (2 kaLai)-krithi<br /><br /><br /> kailAsacala vAsA<br />hindOLa-Adi-krithi<br /><br /><br /> kaimmAru sheivaduNDO<br />kEdAragauLa-Adi-krithi<br /><br /><br /> kAl mAri ADum<br />dEvamanOhari-dEshAdi-krithi<br /><br /><br /> kali tIrumO<br />tODi-dEshAdi-krithi<br /><br /><br /> kallAda Ezhai<br />sAvEri-Adi-krithi<br /><br /><br /> kalpakAmbikA<br />harikAmbhOji-Adi-krithi<br /><br /><br /> kalpakAmbikai nI<br />behAg-rUpaka-krithi<br /><br /><br /> kalpakAmbikai uNDu<br />shuddhasAvEri-khaNDa jhampa-krithi<br /><br /><br /> kalpakAmbikaiyin<br />rAgam: latAngi-Adi-krithi<br /><br /><br /> kalpakAmbikE shrI<br />bhairavi-rUpaka-krithi<br /><br /><br /> kalyANi karuNAnidhi<br />KalyANi-Adi-krithi<br /><br /><br /> kAmAkSi gauri<br />sAvEri-Adi-krithi<br /><br /><br /> kamala malaridazh<br />kalyANi-Adi-krithi<br /><br /><br /> kamalAmbA anaiyE<br />shankarAbharaNa-Adi-krithi<br /><br /><br /> kamalappada malariNai<br />harikAmbOji-Adi-krithi<br /><br /> kAmAntakA<br />kApi-Adi-krithi<br /><br /><br /> kAmattai jayikkAdavan<br />dhanyAsi-cApu-krithi<br /><br /><br /> kAmEshvarA<br />kalyANi-dEshAdi-krithi<br /><br /><br /> kan manam<br />surAti-Adi-krithi<br /><br /><br /> kANa Aval<br />mOhana-Adi-krithi<br /><br /><br /> kANa vENDAmO<br />shrIranjani-rUpaka-krithi<br /><br /><br /> kANa virumbum<br />mukhAri-Adi-krithi<br /><br /><br /> kanaka sabhaiyai<br />hindustAnikApi-rUpaka-krithi<br /><br /><br /> kANakkaN kOTi<br />kAmbOji-Adi-krithi<br /><br /><br /> kandA vandaruL<br />AbhEri-Adi-krithi<br /><br /><br /> kanindaruL<br />kalyANi-tisra Adi-krithi<br /><br /><br /> kanja malaraDi<br />shankarAbaraNa-Adi-krithi<br /><br /><br /> kaNNA kAttaruL<br />madhyamAvati-Adi-krithi<br /><br /><br /> kaNNan madhura idazhai<br />bhImpalAs-Adi-krithi<br /><br /><br /> kaNNan mALigaikkE<br />aThANA-Adi-krithi<br /><br /><br /> kaNNanai paNi<br />SaNmukhapriyA-Adi-krithi<br /><br /><br /> kaNNE en kaNmaiyE<br />kurinji-tisra Adi-krithi<br /><br /><br /> kAntimati annai<br />kAnaDA-cApu-krithi<br /><br /><br /> kapAli irukka<br />sAvEri-khanDa jhampa-krithi<br /><br /><br /> kapAli karuNai nidhi<br />hamsadhvani-Adi-krithi<br /><br />kApAli karuNai nilavu<br />mOhana-Adi-krithi<br /><br /><br />kapAlIshanE<br />khamAs-Adi-krithi<br /><br /><br />kAriruLokka<br />kharharapriyA-Adi-krithi<br /><br /><br />karpaka manOhara<br />malayamAruta-khaNDa jhampa-krithi<br /><br /><br />karpaka vallI<br />ragamAlikA-Adi-krithi<br /><br /><br />karpaka valliyin<br />Arabhi-Adi-krithi<br /><br /><br />karpakAmbikE<br />bilahari-rUpaka-krithi<br /><br /><br />karpakamE<br />madhyamAvati-Adi-krithi<br /><br /><br />kArtikEya gAngEya<br />tODi-Adi-krithi<br /><br /><br />karuNA nidhiyE<br />bauLi-tisra tripuTa-krithi<br /><br /><br />karuNai puri<br />tODi-Adi-krithi<br /><br /><br />karuNai sheivAi<br />hamsadhvani-dEshAdi-krithi<br /><br /><br />karuNai varumO <br />cArukEsi-Adi-krithi<br /><br /><br />karuNakaranE shiva<br />kIravANi-Adi-krithi<br /><br /><br />karuNAnidhiyE<br />kuntalavarALi-Adi-krithi<br /><br /><br />karuNAnidhiyE kaDaikkaN<br />kuntalavarALi-Adi-krithi<br /><br /><br />konjam dayai <br />shankarAbharaNa-cApu-krithi<br /><br /><br />kOsalai pudalvanai <br />rAgamAlikA-Adi-krithi<br /><br /><br />krSNA mukundA<br />navarOj-Adi-krithi<br /><br /><br />krSNa nAma<br />behAg-dEshAdi-krithi<br /><br />kSIra sAgara shAyi<br />pUrvikalyANi-Adi-krithi<br /><br />kulakkoDi tazhaikka<br />rAmapriyA-Adi-krithi<br /><br />kumaran tAL<br />yadukulakAmbhOji-Adi-krithi<br /><br />kumaran tiruvaDi<br />yamunAkalyANi-Adi-krithi<br /><br />kuncita pAdam<br />kAmbhOji-Adi-krithi<br /><br />kunram kuDi<br />tODi-Adi-krithi<br /><br />kUvi azhaikka<br />sindhubhairavi-Adi-krithi<br /><br />mA dayai<br />vasantA-Adi-krithi<br /><br />mA padAmbOruham<br />kuntaLavarALi-Adi-krithi<br /><br />mA ramaNan<br />hindOLa-rUpaka-krithi<br /><br />mAdhava bhuviyadil<br />shankarAbharaNa-Adi-krithi<br /><br />mAdhava mAyA<br />hamsAnandi-Adi-krithi<br /><br />mahA prabhO<br />Arabhi-Adi-krithi<br /><br />mahAdEva paramashiva<br />shuddhasImantini-Adi-krithi<br /><br />mahAlakSmi jaganmAtA<br />shankarAbaraNa-cApu-krithi<br /><br />mahAtmA gAndhi<br />maNirangu-Adi-krithi<br /><br />mahimai ariya <br />mAyAmALavagauLa-Adi-krithi<br /><br />mahiSAsuramadani<br />kannaDa-Adi-krithi<br /><br />mAl marugA <br />vasantA-Adi-krithi<br /><br />mAlai shUTTuvEn<br />rAgamAlika-Adi-krithi<br /><br />malariNai <br />rItigauLa-rUpaka-krithi<br /><br />manakkurangu <br />AbhOgi-Adi-krithi<br /><br />manamE kaNamum<br />bhImpalAs-Adi-krithi<br /><br />manamE nI<br />kuntalavarALi-Adi-krithi<br /><br />manamenum malarAl<br />mAyAmALavagauLa-Adi-krithi<br /><br />mangaLa nAyaki maDa<br />tODi-Adi-krithi<br /><br />mangaLa nAyaki malaraDi <br />navarasakannaDa-Adi-krithi<br /><br />mangaLam aruL<br />shrI-rUpaka-krithi<br /><br />mAniDa janmam<br />khamAs-rUpaka-krithi<br /><br />mArajanaka<br />rAgamAlikA-Adi-krithi<br /><br />mariyAdai tAnO<br />dhanyAsi-Adi-krithi<br /><br />marundaLittaruLvAi<br />gauLa-Adi-krithi<br /><br />mAtA innum vAtA <br />shrIranjani-Adi-krithi<br /><br />mAtA InrameyyA<br />shuddhasAvEri-Adi-krithi<br /><br />mAtA tuNai<br />kAnadDA-Adi-krithi<br /><br />mAyam EdO <br />mAyAmALavagauLa-Adi-krithi<br /><br />mAyAvatAra madhusUdanA<br />kAmbhOji-Adi-krithi<br /><br />mayil vAhanA<br />mOhana-Adi-krithi<br /><br />mayil vAhanE <br />KalyANi-Adi-krithi<br /><br />mayilApuriyil<br />bhairavi-cApu-krithi<br /><br /><br />mOhana krSNA <br />suraTi-Adi-krithi<br /><br />mOhana muraLIdharA<br />cenjuruTi-Adi-krithi<br /><br />mOhana shrngAra<br />mOhana-Adi-krithi<br /><br />mUlAdhAra mUrti<br />hamsadhvani-Adi-krithi<br /><br />muraLIdhara mana<br />nAgasvarAvaLi-Adi-krithi<br /><br />murugA muzhumadi<br />sAvEri-Adi-krithi<br /><br />muruganai bhaji<br />jOnpuri-Adi-krithi<br /><br />muruganai nI anudinamum<br />kannaDa-Adi-krithi<br /><br />nAda praNava<br />shuddhasAvEri-Adi-krithi<br /><br />nam nADu<br />shuddhasAvEri-Adi-krithi<br /><br />nAma bhajarE<br />mANd-Adi-krithi<br /><br />nAma dhyAnam<br />rItigauLa-Adi-krithi<br /><br />nAma ghOSam<br />Anandabhairavi-Adi-krithi<br /><br />nAmam uravu<br />darbAr-Adi-krithi<br /><br />nAman onrE<br />kharaharapriyA-Adi-krithi<br /><br />nambik-keTTavar<br />hindOLa-Adi-krithi<br /><br />nambinadu kuTramA<br />hamsadhvani-Adi-krithi<br /><br />nambum anbarai<br />shrIranjani-Adi-krithi<br /><br />nanganallUr<br />Anandabhairavi-Adi-krithi<br /><br />nAnoru viLayATTu<br />navarasakannaDa-Adi-krithi<br /><br />nArAyaNa divya <br />mOhanam-Adi-krithi<br /><br />nArAyaNa naLinAyata<br />sAma-Adi-krithi<br /><br />naTana sabhApatiyE<br />nATakuranji-Adi-krithi<br /><br />naTanam enbadu<br />vasantA-Adi-krithi<br /><br />naTarAjan un tiru<br />vasantA-Adi-krithi<br /><br />naTarAjO vijayatE<br />vasantA-khaNDjAti aTa-krithi<br /><br />nAthan tAL<br />hamIrkalyANi-tisra Eka-krithi<br /><br />nekkurugi<br />AbhOgi-Adi-krithi<br /><br />nenjE kalpaka<br />shudhdhasImantini-Adi-krithi<br /><br />nI aruL puriya<br />kIravANi-tripuTa-krithi<br /><br />nI gatiyaladu<br />bhairavi-Adi-krithi<br /><br />nI inda mAyam (padavarNam)<br />dhanAysi-Adi-krithi<br /><br />nI irangAyenil<br />aThANA-Adi-krithi<br /><br />nijamunnai <br />bilahari-jhampa-krithi<br /><br />nIlAmbari jagadIshvari<br />nIlAmbari-Adi-krithi<br /><br />nin aruL<br />kAmavardhini-rUpaka-krithi<br /><br />nin caraNa malarE<br />simEndramadhyam-cApu-krithi<br /><br />ninai manamE <br />anandabhairavi-rUpaka-krithi<br /><br />ninaindurugum aDiyAr<br />kharaharapriyA-Adi-krithi<br /><br />ninaindurugum enai<br />suraTi-Adi-krithi<br /><br />nityAnandam aLikkum (kaNNigaL) <br />nAdanAmakriyA-Adi-krithi<br /><br />nIyE parAmukhamAyin<br />hamsanAda-Adi krithi<br /><br />nIyE pEdai<br />kAmavardhini-Adi-krithi<br /><br />nIyE sharaN <br />kAmbhOji-Adi-krithi<br /><br />O shiva param <br />paraju-Adi-krithi<br /><br />OhO en tOzhargaL<br />sindhubhairavi-rUpaka-krithi<br /><br />oru varam <br />kalyANi-Adi-krithi<br /><br />pada malariNai<br />sAvEri-Adi-krithi<br /><br />padam nambinEn<br />kalyANi-Adi-krithi<br /><br />pAdamalar tuNaiyE<br />harikAmbhOji-cApu-krithi<br /><br />padamalarE gatiyena<br />mAyAmALavagauLa-rUpaka-krithi<br /><br />pAdamalarE tanjam<br />kEdAra-Adi-krithi<br /><br />pAdamE tuNai<br />valaji-Adi-krithi<br /><br />pADap-pADa <br />kAmbhOji-Adi-krithi<br /><br />padari manamayarndu <br />sAvEri-Adi-krithi<br /><br />pADi aluttEn <br />kuntaLavarALi-Adi-krithi<br /><br />padmanAbha mAm pAhi <br />kalyANi-dEshAdi-krithi<br /><br />padumanAbhan marugA<br />nAgasvarAvaLi-Adi-krithi<br /><br />pAhi mInalOcani <br />bilahari-Adi-krithi<br /><br />pAlanai purivadOr <br />darbAr-Adi-krithi<br /><br />pAmAlaikkiNai uNDO <br />harikAmbhOji-Adi-krithi<br /><br />pANDuranga prabhuvE<br />kApi-Adi-krithi<br /><br />para deivam<br />pUrvikalyANi-Adi-krithi<br /><br />para dEvataiyE<br />cakravAka-Adi-krithi<br /><br />paradEvatE padam<br />maNirangu-dEshAdi-krithi<br /><br />parama puruSan<br />nAgasvarAvaLi-Adi-krithi<br /><br />parAmukham EnayyA<br />kharaharapriyA-Adi-krithi<br /><br />parAmukham tagumO<br />mukhAri-Adi-krithi<br /><br />parAshakti janani<br />hamsadvani-Adi-krithi<br /><br />parashu pANi<br />paraju-Adi-krithi<br /><br />parAtpara parameshvara<br />vAcaspati-dEshAdi-krithi<br /><br />pAril nalvazhi<br />tODi-Adi-krithi<br /><br />paripAlanai puri<br />hEmavati-Adi-krithi<br /><br />parpala <br />khamAs (paN)-rUpaka-krithi<br /><br />pArulagil uzhanru (kaNNigaL)<br />mOhana-Adi-krithi<br /><br />pArvati nAyakanE <br />SaNmukhapriyA-Adi-krithi<br /><br />pati avanE <br />cenjuruTTi-Adi-krithi<br /><br />pati padam <br />shankarAbharaNa-Adi-krithi<br /><br />patita pAvana<br />tODi-Adi-krithi<br /><br />pavana tanaya<br />kAmbhOji-Adi-krithi<br /><br /><br />pazhani appan <br />simhEndramadhyam-Adi-krithi<br /><br />pErAnandam<br />rItigauLa-Adi-krithi<br /><br />piccaikku vandIrO<br />suraTi-Adi-krithi<br /><br />piravA varam<br />latAngi-Adi-krithi<br /><br />piravi adanAl<br />shahAnA-adi-krithi<br /><br />pizhai poruttaruLvAi<br />husEni-cApu-krithi<br /><br />pollAp-puliyinum<br />mAyAmALavagauLa-madhyAdi-krithi<br /><br />pOvOm vArIr<br />shankarAbharaNa-rUpaka-krithi<br /><br />purakkavE avatarittAn<br />kalyANi-Adi-krithi<br /><br />rAdhA mukha kamala<br />hindustAnikApi-Adi-krithi<br /><br />rAjagOpAla<br />tODi-rUpaka-krithi<br /><br />rAjan mahArAjan<br />husEni-Adi-krithi<br /><br />rAmA idu<br />kalyANi-Adi-krithi<br /><br />rAma nAma amrta<br />khamAs-Adi-krithi<br /><br />rAmacandran malaraDi<br />kalyANi-Adi-krithi<br /><br />rAmam bhajata<br />shrI-Adi-krithi<br /><br />rAmanai bhajittAl<br />mANd-Adi-krithi<br /><br />ranganai tudippOrkku<br />cakaravAka-Adi-krithi<br /><br />sA sabhA<br />hamsadhvani-rUpaka-krithi<br /><br />sadAshiva kumArA <br />shuddhasAvEri-Adi-krithi<br /><br />sAdhu janangaLai <br />sAvEri-Adi-krithi<br /><br />sakala bhuvana<br />kEdAra-rUpaka-krithi<br /><br />sakala lOka<br />latAngi-Adi-krithi<br /><br />sAmagAna lOlanE<br />hindOLa-Adi-krithi<br /><br />sAmajavara<br />madhyamAvati-Adi-krithi<br /><br />sAmbashivA enrE<br />kIravANi-Adi-krithi<br /><br />sAnandAntaranga <br />simhEndramadhyam-Adi-krithi<br /><br />sangIta trimUrtigaLai <br />kEdAragauLa-Adi-krithi<br /><br />sArasa pUmpAdam<br />behAg-Adi-krithi<br /><br />sarasvati annaiyE<br />kharaharapriyA-Adi-krithi<br /><br />sarasvati dayai<br />sarasvati-Adi-krithi<br /><br />sarvalOka sharaNya<br />nAdanAmakriyA-Adi-krithi<br /><br />sarvEshA aDimaiyai<br />bilahari-Adi-krithi<br /><br />saundarya veLLam<br />mOhana-Adi-krithi<br /><br />shambhO sadAshiva <br />shuddhasAvEri-Adi-krithi<br /><br />shambhO umApatE <br />kAmavardhini-Adi-krithi<br /><br />shankara dayAkarA <br />harikAmbhOji-khaNDa cApu-krithi<br /><br />shankara purahara <br />vasantA-Adi-krithi<br /><br />shankarai dayAkarI <br />bEgaDA-Adi-krithi<br /><br />shankaranai paNI manamE<br />nAdanAmakriyA-Adi-krithi<br /><br />shAradE vINA vAdana<br />dEvagAndhAri-Adi-krithi<br /><br />sharaNam aiyappA<br />mukhAri-cApu-krithi<br /><br />sharavaNabhava guhanE<br />kannaDa-Adi-krithi<br /><br />sharavaNabhava guhanE<br />madhyamAvati-Adi-krithi<br /><br />shendil ANDavan<br />kharaharapriyA-rUpaka-krithi<br /><br />shendil vaLar (kaNNigaL)<br />khamAs-tisra Adi-krithi<br /><br />shikkal mEviya<br />kAmbOji-rUpaka-krithi<br /><br />shiridEnum <br />bhairavi-khaNDa jhampa-krithi<br /><br />shiridum kavalaippaDAdE<br />kharaharapriyA-Adi-krithi<br /><br />shiva perumAn<br />suraTi-Adi-krithi<br /><br />shivagangA <br />punnAgvarALi-Adi-krithi<br /><br />shivakAma sundari<br />mukhAri-Adi-krithi<br /><br />shivAya namavenrE<br />kuntalavarALi-Adi-krithi<br /><br />shOdanai shumaikka <br />kApi-Adi-krithi<br /><br />shOdanai tagAdayyA <br />kharaharapriyA-Adi-krithi<br /><br />shollu pAppA <br />mukhAri-adi-krithi<br /><br />shrI gaNapatiyE<br />dEvamanOhari-Adi-krithi<br /><br />shrI gaNEsha<br />tilang-Adi-krithi<br /><br />shrI harE <br />mAyAmALavagauLa-Adi-krithi<br /><br />shrI harE krSNa<br />nATa-Adi-krithi<br /><br />shrI harE nArAyaNa <br />mAyAmALavagauLa-Adi-krithi<br /><br />shrI jagadambikaiyE<br />latAngi-rUpaka-krithi<br /><br />shrI mahA<br />kAmavardhini-Adi-krithi<br /><br />shrI padmanAbhA<br />kEdAragauLa-Adi-krithi<br /><br />shrI rAdhA<br />behAg-rUpaka-krithi<br /><br />shrI rAma jayamangaLam <br />suraTi-Adi-krithi<br /><br />shrI rAma nAma<br />aThANA-Adi-krithi<br /><br />shrI rAmabhadrA <br />suraTi-Adi-krithi<br /><br />shrI rAmabhadrA<br />sAramati-Adi-krithi<br /><br />shrI rAman <br />nArAyaNagauLa-Adi-krithi<br /><br />shrI SaNmukham<br />Bhairavi-Adi-krithi<br /><br />shrI shailapatiyE<br />kAmbhOji-Adi-krithi<br /><br />shrI vallI <br />naTabhairavi-Adi-krithi<br /><br />shrI vAtApi <br />sahAnA-Adi-krithi<br /><br />shrI vishvanAtham <br />bhairavi-Adi-krithi<br /><br />shrIdhara venkatEsham <br />kalyANi-cApu-krithi<br /><br />shrInivAsa tava <br />kharharapriyA-rUpaka-krithi<br /><br />shrInivAsa tiru <br />hamsAnandi-Adi-krithi<br /><br />singAra vElavan <br />Anandabhairavi-Adi-krithi<br /><br />soppana vAzhvil <br />rAgamAlikA-Adi-krithi<br /><br />sundara rUpa<br />shankarAbharaNa-Adi-krithi<br /><br />sundarEshvarA <br />maNirangu-rUpaka-krithi<br /><br />sundarEshvaranE<br />kalyANi-Adi-krithi<br /><br />svAmi ItaramA <br />kEdAra-Adi-krithi<br /><br />svAmi nAn unran (varNam)<br />nATakuranji-Adi-krithi<br /><br />svAmi nI (padavarNam)<br />shrIranjani-Adi-krithi<br /><br />svAmi sharaNam<br />Anandabhairavi-Adi-krithi<br /><br />svAmi shiridum <br />nAgasvarAvaLi-Adi-krithi<br /><br />svAmi unnai (varNam) <br />Arabhi-Adi (2 kaLai)-krithi<br /><br />svAmi unran (varNam) <br />bilahari-Adi-krithi<br /><br />svAmikku sari <br />kEdAragauLa-cApu-krithi<br /><br />tAmadam En <br />tODi-Adi-krithi<br /><br />tAmasamA ammA <br />kuntalavarALi-Adi-krithi<br /><br />tamizh maNam <br />maNIrangu-Adi-krithi<br /><br />tandai tAi <br />dEvamanOhari-Adi-krithi<br /><br />taNikai vaLar <br />tODi-khaNDacApu-krithi<br /><br />taNikEshanai paNindu <br />tODi-Adi-krithi<br /><br />tanjam enrAlE (varNam) <br />AbhOgi-Adi-krithi<br /><br />tanjam nIyE <br />tODi-Adi-krithi<br /><br />tannai bhajikkalAgAdA <br />aThANA-Adi-krithi<br /><br />taruNm IdaiyyA <br />shivaranjani-rUpaka-krithi<br /><br />tatvamariya <br />rItigauLa-Adi-krithi<br /><br />tava caraNau <br />tODi-rUpaka-krithi<br /><br />tAyE bhairaviyE <br />bhairavi-Adi-krithi<br /><br />tAyE EzhaipAl <br />bhairavi-adi-krithi<br /><br />tAyE nInE <br />bhairavi-Adi-krithi<br /><br />tAyin maNikkoDi <br />sALagabhairavi-Adi-krithi<br /><br />tAyumAnavanE <br />khamAs-Adi-krithi<br /><br />tEril ErinAn <br />kalyANi-rUpaka-krithi<br /><br />tirukkumaranAi <br />shankarAbaraNa-dEshAdi-krithi<br /><br />tirupparam kunra <br />hindOLa-Adi-krithi<br /><br />tiruvaDi paNiyum <br />sAvEri-Adi-krithi<br /><br />tiruvaLar <br />khamAs-Adi-krithi<br /><br />tiruvaruL purivaiyE <br />shuddhadhanyAsi-Adi-krithi<br /><br />tiruvaruL tandaruLvAi <br />bEgaDa-Adi-krithi<br /><br />tiruvaruL tara<br />aThANA-Adi-krithi<br /><br />tiruvazhundUr <br />dhanyAsi-tripuTa-krithi<br /><br />tudikkaiyanai nI <br />mOhana-Adi-krithi<br /><br />tuNai nIyE <br />kalyANi-Adi-krithi<br /><br />tuNai purindaruL <br />hindOLa-Adi-krithi<br /><br />ulaga vAzhilum <br />aThANA-Adi-krithi<br /><br />ulaga vAzhvil <br />sAvEri-Adi-krithi<br /><br />uLLam iranguvadun <br />kAnaDA-Adi-krithi<br /><br />uLLamirangi <br />hamsadhvani-Adi-krithi<br /><br />umaiyOr bhAganE <br />nATa-rUpaka-krithi<br /><br />un pAdam aladu <br />kalyANi-Adi-krithi<br /><br />un padam nambina <br />rItigauLa-Adi-krithi<br /><br />un pAdamE <br />punnAgavarALi-Adi-krithi<br /><br />unadu dayai <br />kAmavardhani-tripuTa-krithi<br /><br />unai allAl vErE <br />kalyANi-Adi-krithi<br /><br />unai dinam <br />sAvEri-Adi-krithi<br /><br />unai nambi <br />cakravAka-cApu-krithi<br /><br />unaiyalAl gati <br />balahamsa-Adi-krithi<br /><br />unaiyallAl gati <br />kalyANi-Adi-krithi<br /><br />unakkum enakkum <br />mAyAmALavagauLa-Adi-krithi<br /><br />uNDenru nambu <br />kAmbhOji-Adi-krithi<br /><br />uNDenru urudi <br />harikAmbOji-rUpaka-krithi<br /><br />uNDu kuladeiva <br />tODi-Adi-krithi<br /><br />unnai bhajikka <br />bEgaDa-Adi-krithi<br /><br />unnai ninaindu <br />cakravAka-Adi-krithi<br /><br />unnai ninandAlE <br />cenjuruTi-Adi-krithi<br /><br />unnait-tudikka <br />kunthaLavarALi-Adi-krithi<br /><br />vA gaNapatiyE <br />shuddhasAvEri-Adi-krithi<br /><br />vA vA mativadanE <br />paraju-Adi-krithi<br /><br />vaLLI kAntA <br />simhEndramadhyam-Adi-krithi<br /><br />vAna inbamum peridO <br />bhImpalAs-RUpaka-krithi<br /><br />vandadellAm <br />husEni-Adi-krithi<br /><br />vandaruLvAi murugA <br />dEvamanOhari-Adi-krithi<br /><br />vandaruLvAi tOghai <br />kAmavardhini-Adi-krithi<br /><br />vANI aruL <br />dhanyAsi-Adi-krithi<br /><br />vAnOr vaNangum <br />Anandabhairavi-Adi-krithi<br /><br />varalakSmi nIyE <br />sALagabhairavi-Adi-krithi<br /><br />vAyu kumAran <br />kalyANi-adi-krithi<br /><br />vEnkaTaramaNA pankaja <br />kalyANi-Adi-krithi<br /><br />vEnkaTaramaNA un tiru <br />latAngi-rUpaka-krithi<br /><br />vErillai nIyE <br />suraTi-Adi-krithi<br /><br />vEru tuNai <br />dhanyAsi-jhampa-krithi<br /><br />vighna vinAyaka <br />madhyamAvati-Adi-krithi<br /><br />vINE azhiyAdE <br />kharaharapriyA-Adi-krithi<br /><br />vishAlAkSi nAyakan <br />bEgaDa-Adi-krithi<br /><br />vishvanAthA <br />dEvagAndhAri-Adi-krithi<br /><br />yadukula tilakA<br />hamIrkalyANi-Adi-krithi<br /><br />yamunA tIrE <br />mAND-Adi-krithi<br /><br />yArammA nI <br />SaNmukhapriyA-Adi-krithi<br /><br />yashOdA bAlA<br />rAgamAlikA-Adi-krithiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com1tag:blogger.com,1999:blog-3207072992206519076.post-60070449310511814112007-08-16T22:02:00.000-07:002008-08-04T23:18:11.060-07:00Muthaiah Bhagavathar (1877 - 1945) Biography and Works<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp3.blogger.com/_izbXUVoYKD4/RsUtgKocwnI/AAAAAAAAACU/otIkheKlILE/s1600-h/muthiah_bhagavatar.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://bp3.blogger.com/_izbXUVoYKD4/RsUtgKocwnI/AAAAAAAAACU/otIkheKlILE/s320/muthiah_bhagavatar.jpg" alt="" id="BLOGGER_PHOTO_ID_5099532183700030066" border="0" /></a><br /><p><span style=""><span style="font-size:0;"><span style="font-weight: bold; color: rgb(255, 0, 0);font-size:130%;" >Biography</span><br /></span></span></p><p style="color: rgb(255, 0, 0);"><span style=";font-size:100%;" ><span style="font-weight: bold;">Dr. Harikesanallur Muthaiah Bhagavathar is one of the most important post-trinity composers and an important vocalist as well.</span> </span></p><p> <span style=";font-size:100%;" ><span style="color: rgb(255, 102, 102);">Muthaiah Bhagavathar</span> was born to Lingam Iyer and Anamdam in <span style="color: rgb(255, 102, 102);">1877</span>. 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. </span></p><p> <span style=";font-size:100%;" >As a vocalist, his big break came when in <span style="color: rgb(255, 102, 102);">1887</span> 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. </span></p><p> <span style=";font-size:100%;" >The next phase of his life was as a court musician in Mysore, from <span style="color: rgb(255, 102, 102);">1927</span>. Most of his compositions were from this period. Initially he composed mostly in Madhyakala, like <span style="font-style: italic; color: rgb(255, 102, 102);">Shri Tyagaraja</span>. After 1931, he was influenced by Muthuswamy Dikshitar compositions and started compoing in vilambita kala. In 1936, he was again invited by <span style="font-style: italic; color: rgb(255, 102, 102);">Maharani Sethu Parvathi </span>of Travancore and he spent several years there. during that time, one of his major contributions was popularising <span style="font-style: italic; color: rgb(255, 102, 102);">Swati T</span></span><span style=";font-size:100%;" ><span style="font-style: italic; color: rgb(255, 102, 102);">irunal</span> compositions. He was also the first prinicipal of "<span style="color: rgb(255, 102, 102);">Swathi Thirunal Academy of Music</span>" there. </span></p><p> <span style=""><span style="font-size:0;"><span style="font-size:100%;">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 <span style="color: rgb(255, 102, 102);">1943 </span>by the Travancore state.</span><br /></span></span></p><p><i style="color: rgb(255, 0, 0);"><b>Teachers & Influences</b></i><span style="color: rgb(255, 0, 0);">:</span>M. Lakshamana Suri, Sambasiva Iyer, T. S. Sabesa Iyer</p><table style="margin-left: 20px;"><tbody><tr align="left" valign="top"> <td><br /></td></tr></tbody></table><table><tbody><tr align="left" valign="top"><td><i><b><span style="color: rgb(255, 0, 0);">Mudra:</span></b></i></td> <td>Harikesha</td> </tr> <tr align="left" valign="top"> <td><br /></td><td><br /></td> </tr> <tr align="left" valign="top"> <td><i><b><span style="color: rgb(255, 0, 0);">Languages used:</span><br /></b></i></td> <td>Telugu, Sanskrit</td></tr></tbody></table><i style="color: rgb(255, 0, 0);"><b><br />Genre</b></i><span style="color: rgb(255, 0, 0);"> <span style="font-style: italic; font-weight: bold;">Carnatic</span>:</span> Krithi<br /><br /><span style="color: rgb(255, 0, 0); font-weight: bold;"><span style="font-style: italic;">Compositions</span>:</span><br /><br /><table border="1" width="710"><tbody><tr><td>Adityan Devadidevam </td> <td> Mayamalavagaula </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ajam haram Ambikavanam </td> <td> Nilambari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Amba mahavani </td> <td> Saraswati Manohari </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Ambavanina </td> <td> Keeravani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Anagham akhilandam </td> <td> Mandari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Anandamana sangeetham </td> <td> Kambhoji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Anandapuram haram </td> <td> Vijayasree </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ananthapadmanabham </td> <td> Malahari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Ananthaya sarvaya </td> <td> Bauli </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Andavan darisanamae </td> <td> Jonpuri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Anekatame </td> <td> Vijayanagari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Angaraka Mangalamurthye </td> <td> Ritigaula </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Aniswaram abhishekaram </td> <td> Charukesi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Anthakasura subane </td> <td> Sahana </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Aparajithe amarasanuthe </td> <td> Kannada </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Apavarga pradam asraye </td> <td> Pasupatipriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Arrukkum adangada </td> <td> Begada </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Arya Devi </td> <td> Sahana </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Astamurthim sishtamurthim </td> <td> Gaulipantu </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Athisayavara </td> <td> Mandari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Atisundaram avyaktham </td> <td> Simhendramadhyamam </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Avan seyalauni </td> <td> Hamirkalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bale paripahi sahu </td> <td> Begada </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Balochanam bhaga </td> <td> Saurashtram </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Balumo samayannu </td> <td> Sahana </td> <td> Khanda Chapu </td> <td> Varnam</td> </tr> <tr> <td> Bhagala Deviya </td> <td> HanumaThodi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhagavate rudraya </td> <td> Kurinji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhajamyaham avyayam </td> <td> Nagagandhari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhakthavalsala paramesvara </td> <td> Karnataka Bihag </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Bhandasuravimardini </td> <td> Manirang </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Bhargam pasupatim </td> <td> Jingla </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Bhavapasa mochakam </td> <td> Pushpalatika </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Bhujanga Bhushana </td> <td> Chenchukamboji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhutha pataye namo </td> <td> Nagasvaravali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bhuvaneswari alita </td> <td> Mohanakalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Bindupeetha kritavase </td> <td> Huseni </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Chakra ragarathe </td> <td> Dharmavathi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Chakresi pradeepa sri </td> <td> Chakrapradeepta </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Chandamundasiraschethry </td> <td> Garudadhwani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Chandrashekara vibushite </td> <td> Sankarabharanam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Charuvikrama </td> <td> Hamsadhwani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Chidanikunda sambhute </td> <td> Ataana </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Dakshatvaraharam </td> <td> Surutti </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Dandina Sri Chandikambe </td> <td> Salaga Bhairavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Devam kavachinam </td> <td> Bangala </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Devi damshrakarala </td> <td> Hamirkalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Devi Gaurininna </td> <td> Gaurimanohari </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Devi Sivadutipradae </td> <td> Punnagavarali </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Devi Sri Mahalakshmi </td> <td> Harinarayani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Devidakshayani </td> <td> Balahamsa </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Dhirasikhamani </td> <td> Ritigaula </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Dinamani umasaga </td> <td> Mayamalavagaula </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Ennalu tirugu </td> <td> Mandari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Gamanatham bhaje </td> <td> Panchamam </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Gamganapathe namo nama </td> <td> Hamsadhwani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Ganesha skanda janani </td> <td> Nagabhushani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Garudavahana </td> <td> Garudadhwani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Giridhanvinam </td> <td> Kokiladhvani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Girija deviya bhajisetho </td> <td> Veenadhari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Giripriyam gangadharam </td> <td> Kathanakuthuhalam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Girisam mahesham </td> <td> Kaanada </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Gopalanandana </td> <td> Kathanakuthuhalam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Gurunatha </td> <td> Pushpalatika </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Hara Maheswara </td> <td> Begada </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Harihara Mahadeva </td> <td> Jaymanohari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Himagiri tanaye </td> <td> Udayaravichandrika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Himagirisa manomani </td> <td> Isamanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ikhane tala </td> <td> Guharanjini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ithi vela nanne </td> <td> Kokilabhashini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Jagadguru </td> <td> Gopikavasantham </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Jalandharasupeethasthe </td> <td> Valaji </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Jannani Ashrita </td> <td> Ratnangi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Japakusuma </td> <td> Dhanyasi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Jaya jaya basha </td> <td> Sudha Seemanthini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Jaya Mahishasura </td> <td> Hamsadhwani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Jaya Narayana </td> <td> Abhogi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Jayadevijaganmathe </td> <td> Garuda Malhar </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Jvaalajjihve </td> <td> Darbar </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kadambavanavasini </td> <td> Bhoopalam </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Kala ratri svaroopini </td> <td> Urmika/Sudha </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kalati thaya </td> <td> Udayaravichandrika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kameswari Sri </td> <td> Kurinji </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Kandara mandala madhyaye </td> <td> Purnachandrika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kannan manivarnam </td> <td> Kharaharapriya </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Kapalinam vande </td> <td> Hindustani Kapi </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Karangulina Khotparana </td> <td> Harikamboji </td> <td> Ata </td> <td> Krithi</td> </tr> <tr> <td> Kartyayani skandajanani </td> <td> Devamanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kausamba vasanopathe </td> <td> Karnataka Kapi </td> <td> Chapu </td> <td> Krithi</td> </tr> <tr> <td> Khanda Paradsive </td> <td> Yadukulakambhoji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Kripanidhe </td> <td> Hamsanandam </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Kripasagara </td> <td> Madhavamanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Lalataksha namosthuthe </td> <td> Natta </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Lambodara sodara </td> <td> Mecha Kalyani </td> <td> Eka </td> <td> Krithi</td> </tr> <tr> <td> Lambodhara Mahaganesa </td> <td> Navarasa Kannada </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Madhu kaitabha </td> <td> Arabhi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Madjurapura nayike </td> <td> Chakravakam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mahabala girisam </td> <td> Saranga </td> <td> Chapu </td> <td> Krithi</td> </tr> <tr> <td> Mahabaladri nilaye </td> <td> Ramapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mahabaleswara vibho </td> <td> Saranga </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Mahadevam </td> <td> Narayani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mahaganapathe dehi </td> <td> Malahari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Maharajani mahalakshmi </td> <td> Amritavarshini </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Mahatripura Sundar </td> <td> Purnachandrika </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Mahavishnusodari </td> <td> Anandabhairavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mahishasura </td> <td> Andolika </td> <td> Adi </td> <td> Varna</td> </tr> <tr> <td> Manadira kisainda </td> <td> Sankarabharanam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Manamadanguvade </td> <td> HanumaThodi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Manamu kavalannu </td> <td> Sahana </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Manas sastvasraye </td> <td> Shanmukhapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Manasija janaka </td> <td> Panchamam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Manasukaragi </td> <td> Megharanjini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mangalam pongidum </td> <td> Maand </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mangalaroopiniye </td> <td> Jonpuri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Manonmani </td> <td> Subhapanthuvarali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mantrini matangatanaye </td> <td> Hemavathi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Marakathamanichaye </td> <td> Saindhavi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Mavoor valar maharani </td> <td> Jonpuri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mavur valamperuga </td> <td> Sindhubhairavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Meenalochani Amba </td> <td> HanumaThodi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Moovasaikonde </td> <td> Kharaharapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Mrigapane </td> <td> Bhairavi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Mrithuynjayam mridam </td> <td> Ramapriya </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Mula prakrithi rupe </td> <td> Saveri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Muruganukku oeru </td> <td> Mecha Kalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Na punyamu gada </td> <td> Keeravani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Namo hirayana </td> <td> Mangalakaisiki </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Nava lavanya rupadhaye </td> <td> Hindolam </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Navakshara manusutha </td> <td> Navarathnavilasam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Navaratrotsava </td> <td> Alankari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Navavarana sampoojaye </td> <td> Guharanjini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Nee padamulanu </td> <td> Natabhairavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Needu mahima </td> <td> Hamsanandi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ni bhaianana </td> <td> Kambhoji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ni padame gathiyanu </td> <td> Bhairavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Nilalohita </td> <td> Malavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Nilayatakshi nive </td> <td> Vijayasree </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Ninnu nammi nanu </td> <td> Abhogi </td> <td> Eka </td> <td> Krithi</td> </tr> <tr> <td> Nityakinne nishkalanke </td> <td> Nattakurinji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pachiyana turumeni </td> <td> HanumaThodi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Panchasyayane </td> <td> Kaanada </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Panchavakthramasraye </td> <td> Hamsadeepakam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pankajanabam </td> <td> Mecha Kalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Parama mangalate </td> <td> Dvijayanti </td> <td> Chapu </td> <td> Krithi</td> </tr> <tr> <td> Paramapavanane </td> <td> Megharanjini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Paramapurusha </td> <td> Paadi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Parasu hasthaya </td> <td> Navarasa Kannada </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Paripurna paratpara </td> <td> Kuntalavarali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pasupathe namosthuthe </td> <td> Saindhavi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pasupathi padasevaname </td> <td> Mecha Kalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Pasupathimugram </td> <td> Arabhi </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Pasupatipriya sati </td> <td> Pasupatipriya </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Pinakine maha prabhave </td> <td> Brindavanasaranga </td> <td> d </td> <td> Krithi</td> </tr> <tr> <td> Purandara vinuthe </td> <td> Purvikalyani </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Purarthaye namo </td> <td> Hindolam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Purusham pushadante </td> <td> Devamanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Rajarajeswari </td> <td> Garudadhwani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Rathnabhushani </td> <td> Yadukulakambhoji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Ratnakanjukadarini </td> <td> Kambhoji </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Rohineeyam </td> <td> Surutti </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Rundamala lasat </td> <td> Bhushavali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sachamara Ramavani </td> <td> Hamsanandi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sachidananda vigrahe </td> <td> Devagandhari </td> <td> Chapu </td> <td> Padam</td> </tr> <tr> <td> Sahajaguna Rama </td> <td> Sankarabharanam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sahasra sirsha </td> <td> Sudha Lalitha </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Sahasrakara manadithe </td> <td> Vachaspathi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sahasraksham sambhavam </td> <td> Nayaki </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sahasrapadam </td> <td> Kedaram </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sainapriya Sivasankara </td> <td> Sama </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sakala sampatprade </td> <td> Ritigaula </td> <td> Jhampa </td> <td> Krithi</td> </tr> <tr> <td> Saketha Bhupathe </td> <td> Mukhari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sakthi Vinayaka </td> <td> Sriranjini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Samayamide nannu </td> <td> Budhamanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sampathprade </td> <td> Mecha Kalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sankara gangadhara </td> <td> Sudha Saveri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sankarisathodari </td> <td> Gaula </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sannutangi </td> <td> Vasantha </td> <td> Adi </td> <td> Varna</td> </tr> <tr> <td> Sarasakshi ni </td> <td> Mecha Kalyani </td> <td> Ata </td> <td> Krithi</td> </tr> <tr> <td> Sarasamukhi </td> <td> Garuda Malhar </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Saraswatidevi </td> <td> Saraswati Manohari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Saravanabhava </td> <td> Pasupatipriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sarva mangala rupadhye </td> <td> Paras </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sarvajna Samba </td> <td> Ravichandrika </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sarvjagatvyapanam </td> <td> Manorama </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sasisekhara </td> <td> Purnachandrika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sathvikam sankaram </td> <td> Amritavarshini </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Satideviye </td> <td> Shanmukhapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sharanam vijaya </td> <td> Vijayasaraswati </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Siddhi Vinayakom </td> <td> Mohanakalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sikhivahana </td> <td> Hamsadeepakam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Simhavahana Amba </td> <td> Simhavahini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Siva mahasena janaka </td> <td> Vasantha </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Siva siva sambho </td> <td> Mecha Kalyani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sivam vrishbharudram </td> <td> Mohanakalyani </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sivapriya </td> <td> Sriranjini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sivaramaya sugunalaya </td> <td> Keeravani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Somasundara </td> <td> Sarasangi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Somasuryagni </td> <td> Hamsanandi </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Anjaneya </td> <td> Jaymanohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri bhargavam </td> <td> Sri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri bhavamchinmayam </td> <td> Garudadhwani </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri karijaya </td> <td> Sri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri mahabala saila </td> <td> Sudha Saveri </td> <td> Adi </td> <td> Varnam</td> </tr> <tr> <td> Sri Mahaganapathe </td> <td> Kambhoji </td> <td> Ata </td> <td> Varnam</td> </tr> <tr> <td> Sri Mahishasuramardini </td> <td> Hamsagamani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sri Parameswara </td> <td> Madhyamavathi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Raghuvara chinmaya </td> <td> Nayaki </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Raja Raja varade </td> <td> Saurashtram </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sri rajamatangi </td> <td> Udayaravichandrika </td> <td> Adi </td> <td> Varna</td> </tr> <tr> <td> Sri Rama kodandarama </td> <td> Bhairavi </td> <td> Misra Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Sailabrahmambika </td> <td> Kamalamanohari </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sri Sambasiva sadguru </td> <td> Gurupriya </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Sambasivaiya </td> <td> Suryakantham </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sri Shuba Devi </td> <td> Jaganmohini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sri Sive jaya vaibhave </td> <td> Abhogi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri trilokesam </td> <td> Saveri </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Virabhadram </td> <td> Kannada </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sri Virupaksha </td> <td> Gauri </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Sri Vishweswara </td> <td> Harikamboji </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srichakrapuravasini </td> <td> Gamanasrama </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srichakravara </td> <td> Janaranjani </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srikanda dayanide </td> <td> Malavi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Srikantha dayanidhe </td> <td> Salaga Bhairavi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Srimad Simhasaneswari </td> <td> Sudha Saveri </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srimad Tripurasundari </td> <td> Madhyamavathi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srirama jayabhauma </td> <td> Madhyamavathi </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Srisa raravanabhavuni </td> <td> Sumanpriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Sritrayimurte </td> <td> Jayanarayani </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sudhamayi sudhanidhi </td> <td> Amritavarshini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Sukshmathanum </td> <td> Hindola Vasantha </td> <td> Khanda Chapu </td> <td> Krithi</td> </tr> <tr> <td> Suryacharagni </td> <td> Sriranjini </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Tappa mannisotaye </td> <td> Mayapradeepa </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Tappulanaiyu </td> <td> Bauli </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Taraka nama </td> <td> Mayamalavagaula </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Teliyakane </td> <td> Huseni </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Thaiyidhathil anbiiatha </td> <td> Jonpuri </td> <td> Eka </td> <td> Krithi</td> </tr> <tr> <td> Tharakamsivan </td> <td> Sriranjini </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Thim Thathim </td> <td> Hamsanandi </td> <td> Adi </td> <td> Tillana</td> </tr> <tr> <td> Thodu nida nive </td> <td> Punnagavarali </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Thom tha thom </td> <td> Kaanada </td> <td> Adi </td> <td> Thillana</td> </tr> <tr> <td> Thyagaraja sadguruvai </td> <td> Hindolam </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Tripuranthaka deva </td> <td> Hindusthani Behag </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Umadeva mahanubhava </td> <td> Mohana </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Urraya Avyak taya </td> <td> Dharmavathi </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Vageeswari </td> <td> Saraswati </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vajresi mathe </td> <td> Andolika </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Valli nayaka </td> <td> Shanmukhapriya </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vanchadomune </td> <td> Karnaranjini </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Vani nityakalyani </td> <td> Saraswati Manohari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vaninivasini </td> <td> Kedaram </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Vedamathe vedavinuthe </td> <td> Natta </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vijayambika </td> <td> Vijayanagari </td> <td> Adi </td> <td> Krithi</td> </tr> <tr> <td> Vindhyachala nivasini </td> <td> Narayanagaula </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Vyomakesam namami </td> <td> Andolika </td> <td> Triputa </td> <td> Krithi</td> </tr> <tr> <td> Yagnamayum Sankaran </td> <td> Bhavapriya </td> <td> Rupaka </td> <td> Krithi</td> </tr> <tr> <td> Yogini Ganasevitha </td> <td> Vanaspathi </td> <td> Adi </td> <td> Krithi</td></tr></tbody></table>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com6tag:blogger.com,1999:blog-3207072992206519076.post-16314548492388936632007-08-16T21:48:00.000-07:002008-08-04T23:18:11.067-07:00Koteeswara Iyer (1870 - 1940) Biography and Works<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp3.blogger.com/_izbXUVoYKD4/RsUrRKocwmI/AAAAAAAAACM/jy_KRimeFog/s1600-h/koteeshwara_iyer.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://bp3.blogger.com/_izbXUVoYKD4/RsUrRKocwmI/AAAAAAAAACM/jy_KRimeFog/s320/koteeshwara_iyer.jpg" alt="" id="BLOGGER_PHOTO_ID_5099529726978736738" border="0" /></a><br /><span style="font-weight: bold; color: rgb(255, 0, 0);">Biography<br /><br />Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi Raaga-s. </span><br /><br />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.<br /><br />Koteeswara Iyer penned over <span style="color: rgb(255, 0, 0);">200</span> compositions. He also composed a krithi in each of the <span style="color: rgb(255, 0, 0);">72 </span>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<br /><br /><span style="color: rgb(255, 0, 0);">Teachers & Influences:</span> Patnam Subramanya Iyer, Ramnad Sreenivasa Iyengar<br /><br /><br /><span style="color: rgb(255, 0, 0);">Mudra:</span> Kavi Kunjaradasan<br /><br /><span style="color: rgb(255, 0, 0);">Genre Carnatic:</span> Krithi<br /><br /><span style="color: rgb(255, 0, 0);">Languages used:</span> Tamil, Telugu<br /><br /><br /><span style="color: rgb(255, 0, 0);">Compositions:</span><br />Adum azhaginile Kosalam Adi Krithi<br />Alagade Hatakambari Adi Krithi<br />Amboruha padame Natabhairavi Rupaka Krithi<br />Ananda rakshaka Jhalavarali Adi Krithi<br />Andharanga bhakthi Shadvidhamargini Adi Krithi<br />Anjaade Pavani Misra Chapu Krithi<br />Appa Muruga Divyamani Adi Krithi<br />Appane kapali HanumaThodi Rupaka Krithi<br />Arul shaiya Rasikapriya Adi Krithi<br />Ayyane atkol Kambhoji Triputa Krithi<br />Dasanena Gukasena Vanaspathi Adi Krithi<br />En maname Namanarayani Adi Krithi<br />Enai alayya Sankarabharanam Adi Krithi<br />Ganamudham Salagam Adi Krithi<br />Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi<br />Ghananayadesika Rishabhapriya Adi Krithi<br />Gitamudame Madhyamavathi Adi Krithi<br />Iha para sukha Suvarnangi Rupaka Krithi<br />Vachaspathi Rupaka Krithi<br />Isan Kanakasabhesan Begada Adi Krithi<br />Ka guha Shanmukha Kosalam Rupaka Krithi<br />Kaana kankodi vendum Chakravakam Rupaka Krithi<br />Kada bhakthachintamani Dharmavathi Misra Chapu Krithi<br />Kaikuda Latangi Jhampa Krithi<br />maname Ragavardhini Rupaka Krithi<br />Kali teera vandarul HanumaThodi Misra Chapu Krithi<br />Kanaka Mayura Jalarnavam Adi Krithi<br />Kanakangaka Kanakangi Adi Krithi<br />Kanakavela karunalavela Sri Adi Krithi<br />Kandaga karpaga taruve Syamalangi Misra Chapu Krithi<br />Kanjam konjam Suryakantham Rupaka Krithi<br />Kanparaiyya Kharaharapriya Rupaka Krithi<br />Karunai Kadale Dhenuka Adi Krithi<br />Karvaya kanda Dhavalambari Rupaka Krithi<br />Ma madhura sarasa Ganamurthi Adi Krithi<br />Mahaganapathe Kaanada Adi Krithi<br />Malaiyate maname Sarasangi Rupaka Krithi<br />Manade maravade Hemavathi Rupaka Krithi<br />Mane moham Saveri Adi Varnam<br />Mangalam mayitvaham Surutti Adi Krithi<br />Manojanaimaruganai Gaula Adi Krithi<br />Mohanakara Neethimathi Rupaka Krithi<br />Nada nilai Gayakapriya Jhampa Krithi<br />Nadanuasantanaa Vagadheeswari Adi Krithi<br />Nadasukham Kanthamani Adi Krithi<br />Nalagude Rupavathi Adi Krithi<br />Nambinen Aiyya Vakulabharanam Adi Krithi<br />Nan enna seyven Mayamalavagaula Adi Krithi<br />Nayen unaye Naganandini Adi Krithi<br />Neeye gati en thaye Harikamboji Adi Krithi<br />Ni than appa Charukesi Adi Krithi<br />Nijabhaktim Manavathi Rupaka Krithi<br />Ninnaikanome Gangeyabhushani Rupaka Krithi<br />Paramananda Vishwambhari Rupaka Krithi<br />Sulini Adi Krithi Parayunul Gaurimanohari Adi Krithi<br />Rama ravikulasoma Bhairavi Adi Krithi<br />Ranjitha kavi Sudha Saveri Rupaka Krithi<br />Sadanamndame Mecha Kalyani Adi Krithi<br />Sadananda Raghupriya Rupaka Krithi<br />Samaganalola Chitrambari Misra Chapu Krithi<br />Sambhosankara Mecha Kalyani Triputa Krithi<br />Sami Dikshita Devamanohari Rupaka Krithi<br />Sami ide nallsamayam Navaneetham Rupaka Krithi<br />Sami sadamuda Ramapriya Adi Krithi<br />Samidesamayam Kedaragaula Rupaka Krithi<br />Sanbho sadasiva Yagapriya Adi Krithi<br />Shentiruvelan Bhavapriya Adi Krithi<br />Singara Kumari Varunapriya Adi Krithi<br />Sri Venugopaladeva Darbar Jhampa Krithi<br />Sukha Vazhve Kokilapriya Rupaka Krithi<br />Sukhakara Dhatuvardhini Adi Krithi<br />Sukhame sukham Shanmukhapriya Adi Krithi<br />Tandi mamukha Natta Adi Krithi<br />Thandarul ayya Nasikabhushani Misra Chapu Krithi<br />Tharuve nin arul Varali Misra Chapu Krithi<br />Ullam ariyada Sriranjini Adi Krithi<br />Unnaiyillal Simhendramadhyamam Adi Krithi<br />Va velava va Tanarupi Jhampa Krithi<br />Vaaranamukha va tunai Hamsadhwani Rupaka Krithi<br />Varnam tarum Jhankaradhwani Misra Chapu Krithi<br />Velaiya dayi Saveri Adi Krithi<br />Velanai vere gathi Subhapanthuvarali Misra Chapu Krithi<br />Velava va adiyen Arabhi Rupaka Krithi<br />Velave va Keeravani Jhampa Krithi<br />Velu mayilu me Sucharitra Rupaka Krithi<br />Viraraghava Gavambodhi Adi Krithi<br />Yedum ariyene Sahana Jhampa KrithiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com3tag:blogger.com,1999:blog-3207072992206519076.post-43613588764513697432007-08-15T11:49:00.000-07:002008-08-04T23:18:11.058-07:00Subramania Bharathi (1882-1921) Biography And Works<a href="http://bp1.blogger.com/_izbXUVoYKD4/RsNMWpNe9NI/AAAAAAAAACE/giIfCIPRy4g/s1600-h/subramanya_bharathi.gif"><img id="BLOGGER_PHOTO_ID_5099003155016774866" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/RsNMWpNe9NI/AAAAAAAAACE/giIfCIPRy4g/s320/subramanya_bharathi.gif" border="0" /></a><strong><span style="color:#ff0000;">Biography</span></strong><br /><p>Subramania Bharathi was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in <span style="color:#ff6666;">1882</span> 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. </p><br /><p>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. </p><br /><p>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).</p><br /><p>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. </p><br /><p>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.</p><br /><p>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. </p><br /><p>He died in an accident on <span style="color:#ff6666;">September 11, 1921</span> at the age of just <span style="color:#ff6666;">39</span>.<br /><span style="color:#ff0000;"></span></p><br /><p><span style="color:#ff0000;">Compositions:</span></p><br /><p>Appavum ponnadi Jaymanohari Adi Krithi</p><br /><p>Bharatha samudayam Hindusthani Behag Eka Padam </p><br /><p>Chinna chiru kiliye Bhairavi Rupaka Krithi </p><br /><p>Dikkuteriyada HanumaThodi Adi Krithi </p><br /><p>Endaiyam tham Kambhoji Adi Krithi </p><br /><p>Jayamundu bhayamillai Khamas Adi Krithi </p><br /><p>Jiva padagai Anandabhairavi Adi Krithi </p><br /><p>Jnanappal arulvai Saramati Adi Krithi </p><br /><p>Kaathirukunren Sama Adi Krithi </p><br /><p>Kanavendamo Sri Rupaka Krithi </p><br /><p>Kanene en kanavan Mecha Kalyani Adi Krithi </p><br /><p>Kanika kondutaram Varali Eka Krithi </p><br /><p>Karumbu thottathile Saindhavi Misra Chapu Krithi </p><br /><p>Malai pozhidil Nadanamakriya Adi Krithi </p><br /><p>Mannar kulathinadi Nadanamakriya Adi Krithi </p><br /><p>Muruga Muruga Nattakurinji Adi Krithi </p><br /><p>Nenjukku neethi Sindhubhairavi Adi Krithi </p><br /><p>Neram mikandidu Nadanamakriya Adi Krithi </p><br /><p>Nithyamunai vendi Chakravakam Eka Krithi </p><br /><p>Pillai prayathile Saraswati Manohari Eka Krithi </p><br /><p>Sakthi tanake Bhoopalam Eka Krithi </p><br /><p>Thanjamulakinil Punnagavarali Adi Krithi </p><br /><p>Ujjaiyini Hindolam Adi Krithi </p><br /><p>Umayirundavar Kambhoji Adi Krithi </p><br /><p>Unnai yenamayil Kharaharapriya Adi Krithi </p><br /><p>Vandadum cholai Harikamboji Adi Krithi </p><br /><div></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com1tag:blogger.com,1999:blog-3207072992206519076.post-36733373290701363442007-08-15T11:46:00.000-07:002008-08-04T23:18:11.065-07:00Veene Sheshanna (1852-1926) Biography<a href="http://bp2.blogger.com/_izbXUVoYKD4/RsNKd5Ne9MI/AAAAAAAAAB8/P_6jg3GNbMU/s1600-h/veene_sheshanna.jpg"><img id="BLOGGER_PHOTO_ID_5099001080547570882" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp2.blogger.com/_izbXUVoYKD4/RsNKd5Ne9MI/AAAAAAAAAB8/P_6jg3GNbMU/s320/veene_sheshanna.jpg" border="0" /></a><br /><div><strong><span style="color:#ff0000;">Biography</span></strong></div><br /><div></div><br /><div>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. </div><br /><div><br />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 <span style="color:#ff6666;">Mysore Sadashiva Rao</span>.<br />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. </div><br /><div></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-15488266496903061062007-08-15T11:38:00.000-07:002007-08-15T11:46:09.531-07:00Pallavi Sesha Iyer (1842 - 1909) Biography and Works<strong><span style="color:#ff0000;">Biography</span></strong><br /><br />Pallavi Sesha Iyer (or <span style="color:#ff0000;">Seshayyar</span>) is one of the important post-trinity composers and musicians in the <span style="color:#ff0000;">Tyagaraja</span> shishya parampara.<br />Sesha Iyer was born in Neykkarapatti, a village about 8 miles from Salem, Tamilnadu। His father, Neykkarapatti Subbayar, was a disciple of Shri Thyagaraja. Sesha Iyer had his musical training from his father, who taught him all the Thyagaraja Krishi-s.<br /><br />As a singer, he was an expert at Ragam-Thanam-Pallavi, so much so, he came to be known as Pallavi Sesha Iyer। Another of his specialities was his ability to compose and sing in rare raaga-s. He composed in many rare mela-s like Kanakangi, Manavati, Tanarupi and raaga-s like Mallikavasantam and Pushpalatika. He also set his own compositions in notation, a rarity among Indian composers.<br /><br />He became a singer in the court of Mysore Maharaja, staying in Mysore and Bangalore for a number of years and teaching a large number of students. Towards the latter part of his life, he lived in Madras. His prime disciples include Manattattaai Duraiswami Aiyar, Chintalapalli Venkita Rao and Nagaswaram Krishna.<br /><br /><span style="color:#ff0000;">Mudra:</span> Sheshayyar<br /><br /><span style="color:#ff0000;">Genre Carnatic:</span> Krithi<br /><br /><span style="color:#ff0000;">Languages used:</span> Telugu<br /><br /><span style="color:#ff0000;">Compositions:</span><br /><span style="color:#ff0000;"></span><br />Chalavalachi Manirang Tisra Eka Varnam<br />Chittamela italaiye Manavathi Adi Krithi<br /> Dasarathapala Kanakangi Adi Krithi<br /> Eduruga vachi Khamas Adi Krithi<br /> Entapalaimpa Kedaragaula Adi Krithi <br />Gasi ela bettevu Ahiri Adi Krithi<br /> Indaparakelara Kharaharapriya Adi Krithi<br /> Inta vadam ne Vakulabharanam Adi Krithi<br /> Jessina papamulu Mecha Kalyani Misra Chapu Krithi<br /> Maruva nike Purvikalyani Adi Krithi<br /> Mosamu seya Simhendramadhyamam Adi Krithi <br />Na paritapamu Saurashtram Adi Krithi<br /> Namadinippudu Nayaki Adi Krithi <br />Namavivinimu Manirang Eka Krithi<br /> Napunya mettido Subhapanthuvarali Adi Krithi <br />Ne neruganu Rama Mallikavasantam Tisra Eka Krithi<br /> Neekela dayaradura Sankarabharanam Eka Krithi<br /> Nenerumganu Mayamalavagaula Adi Krithi<br /> Netala Lenura Huseni Adi Krithi<br /> Ni kanna dikkevarura Pushpalatika Adi Krithi <br />Ni nannu brova Bhairavi Adi Krithi<br /> Ni samagamu Senavathi Adi Krithi <br />Ninnital veta Nilambari Eka Krithi<br /> Ninnuchala nammina Harikamboji Adi Krithi<br /> Nipai Mohamipudu Punnagavarali Misra Chapu Krithi<br /> Nitho jeppaka Garudadhwani Adi Krithi<br /> Nive dayavachi Vasantha Adi Krithi <br />Nive najivamuni Kedaram Rupaka Krithi<br /> Oka matada Gaurimanohari Adi Krithi<br /> Paramananadamu Gaula Adi Krithi <br />Ramanemini Paras Tisra Eka Krithi <br />Raminidu karuna Varali Eka Krithi <br />Saavakaasamela Rama Navaroj Adi Krithi <br />Saduvela Jeraka Ratnangi Adi Krithi<br /> Samaganalola Surutti Adi Krithi<br /> Saminee todi Surutti Adi Varnam<br /> Sarananu Sama Adi Krithi <br />Sarasu rammanave Darbar Eka Krithi<br /> Srigananatha Natta Adi Krithi <br />Sripathe kripa seyar Sri Misra Chapu Krithi<br /> Sriraghukulabdi Sudha Saveri Triputa Krithi<br /> Sundaranga Hindusthani Behag Tisra Eka Krithi<br /> Tattrabadha Jalara Rupavathi Adi Krithi<br /> Udhara dhim Karnataka Kapi Adi Thillana<br /> Uraka galkuna Narayanagaula Tisra Eka Krithi<br /> Vadda Jesavura Dhenuka Eka Krithi <br />Vami nannubrova Surutti Adi Krithi<br /> Vinta Vimataga Kokilapriya Misra Chapu Krithi<br /> Yemanti Rama Shanmukhapriya Eka KrithiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-57083970021230447992007-08-15T11:07:00.000-07:002007-08-15T11:37:50.633-07:00Subbarama Dheekshithar (1839-1906) Biography and Works<a href="http://bp1.blogger.com/_izbXUVoYKD4/RsNHxpNe9LI/AAAAAAAAAB0/XSV88O6hM38/s1600-h/subbarama_dheekshithar.jpg"><img id="BLOGGER_PHOTO_ID_5098998121315103922" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/RsNHxpNe9LI/AAAAAAAAAB0/XSV88O6hM38/s320/subbarama_dheekshithar.jpg" border="0" /></a><br /><div><strong><span style="color:#ff0000;">Biography </span></strong></div><br /><div></div><br /><div>Subbarama Dheekshithar was the grandson of <span style="color:#ff6666;">Baluswami Dikshitar</span>, brother of <span style="color:#ff6666;">Muthuswami Dikshitar</span>. He was a great composer in his own right, but is more well known for <em><span style="color:#ff6666;">Sangita Sampradaya Pradarshini</span></em>, an important book detailing works of <span style="color:#ff6666;">Muthuswami Dikshitar</span> and a reference on many other Carnatic musical concepts. </div><br /><div><br />Subbarama Dheekshithar was born to Annapurni and Sivarama Iyer. Annapurni was the daughter of Baluswami Dikshitar, brother of <span style="color:#ff6666;">Muthuswami Dikshitar</span>. Baluswami Dikshitar, a great musician, was at the court of Ettayapuram kings. He adopted Subbarama Dheekshithar as his own son and taught music to Subbarama Dheekshithar. Subbarama Dheekshithar began composing at the age of seventeen and became the ashtana vidhwan of the Ettayapuram kings at the age of nineteen. He composed maintaining the high style of <span style="color:#ff6666;">Muttuswami Dikshitar</span>, composing kriti-s, many varna-s, svarajati-s, and ragamalika-s. He also set to music, the Valli-Bharatam, a Tamil composition by Kadigai Namassivaya Pulavar of the Ettayapuram Court. "<em><span style="color:#ff6666;">Ma moha lahiri</span></em>" in Khamas on God Kumara at Kazhukumalai by the same Tamil scholar was also set to dance-music by Subbarama Dikshitar. He also did a Tamil translation of the Telugu Mahabharata. </div><br /><div><br />Chinnaswami Mudaliar, a Superintendent at that time in the Madras Government Secretariat, was the first person to try to present Carnatic compositions using western notations.</div><br /><div></div><br /><div>With the help of Shishyaparampara of <span style="color:#ff6666;">Shri Tyagaraja,</span> he gathered several hundred of Thyagaraja krithi-s and published the first issue of Oriental Music. Chinnaswami Mudaliar then started working on Muthuswami Dikshitar compositions which brought him to Subbarama Dheekshithar. Subbarama Dikshitar stayed with Chinnaswami Mudaliar for a considerable period of time and taught him intricacies of carnatic music. But due to failing eye sight he could not complete his work and requested Subbarama Dheekshithar to write a book on Muthuswami Dikshitar compositions. </div><br /><div><br />Due to Chinnaswami Mudaliar's persistence and influence of Ettayapuram king, Subbarama Dheekshithar, by then over <span style="color:#ff6666;">60 </span>years of age, worked on his magnamopus for four years. But before the book was printed Subbarama Dheekshithar died at a relatively young age of<span style="color:#ff6666;"> 67</span>. His plans of publishing many compositions of Thyagaraja, Shyama Shastri and Kshetragna remained incomplete. </div><br /><div><br />Sangita Sampradaya Pradarshini is printed in two vilumes and extends to about <span style="color:#ff6666;">1700 </span>pages. It comprises <span style="color:#ff6666;">76</span> biographies of persons from Sarngadeva to those of Subbarama Dikshitar himself. Two sections are devoted to the science of music (Sangita-lakshana-prachina paddhati and Sangita-lakshana-sangraha). There is an exhaustive tabular statement of raga-s, raganga-s, upanga-s and bhashanga-s with their murcchana-s; a detailed descriptive guide in Telugu and Tamil to the gamaka-signs employed in the notations of the songs in the book and tala-signs. The main text of the work gives the <span style="color:#ff6666;">72 </span>Mela-s and all their Janya-s with their raga-lakshana-s, explanation of their special characteristics, their lakshana-gita-s, sanchari-s and illustrative compositions; and supplements giving ragamalika-s and pieces of other composers who had lived in the previous three centuries, including <span style="color:#ff6666;">170</span> gita-s of Venkatamakhin, about <span style="color:#ff6666;">229</span> kriti-s of <span style="color:#ff6666;">Muttuswami Dikshitar</span>. </div><br /><div></div><br /><div><br /><span style="color:#ff0000;">Genre Carnatic:</span> Krithi, Varna, Svarajati, Ragamalika<br /></div><br /><div><span style="color:#ff0000;">Languages used:</span> Telugu<br /></div><br /><div><br /><span style="color:#ff0000;">Compositions:</span></div><br /><div><br />Chakrakhanditanajkara Udayaravichandrika Dhruva Lakshyagita</div><br /><div>Devi divyanama Mechabauli Rupaka Krithi </div><br /><div>Emanipogadura Paras Tisra Eka Daru</div><br /><div>Enamma nannu Maruva/Mareva Adi Krithi</div><br /><div>Enta ninne Khamas Tisra Eka Padavarna</div><br /><div>Indendu vacchitura Begada Misra Eka Krithi</div><br /><div>Inta modi Darbar Ata Krithi</div><br /><div>Kamtimati Karunamitra Mecha Kalyani Rupaka Krithi Kanchikamakoti Kamavardhini Ata Varna </div><br /><div>Mamohalahari Khamas Rupaka Swarajati</div><br /><div>Mannaru ranga Nagagandhari Rupaka Krithi </div><br /><div>Parashakthi Sankarabharanam Rupaka Krithi</div><br /><div>Parikkani Mecha Kalyani Tisra Eka Krithi </div><br /><div>Sami entani Surutti Adi Krithi</div><br /><div>Samini mahimalu Bhairavi Tisra Eka Krithi </div><br /><div>Sankanana sambhave Sriranjini Adi Krithi </div><br /><div>Sankaracharyam Sankarabharanam Adi Krithi </div><br /><div>Sareku Anandabhairavi Adi Varna </div><br /><div>Sri Kanchikamakshi Kasiramakriya Ata Krithi</div><br /><div>Sri karadini Yadukulakambhoji Adi Daru </div><br /><div>Sri Rajadhiraja Balahamsa Ata Krithi </div><br /><div>Sri rajaraja Ataana Adi Varnam </div><br /><div>Sri sivaramasramul Bhairavi Rupaka Krithi </div><br /><div>Sri Vallipathe Nagasvaravali Eka Krithi </div><br /><div>Tripurasundari Nattakurinji Rupaka Krithi </div><br /><div>Vanajakshi Sahana Ata Varnam </div><br /><div>Yema ninnu Mukhari Adi Krithi </div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-35471448881586450072007-08-15T11:02:00.000-07:002007-08-15T11:07:15.764-07:00Subbaraya Shastry (1803-1862) Biography and Works<strong><span style="color:#ff0000;">Biography</span></strong><br /><br />Subbaraya Shastry was the son and disciple of <span style="color:#ff6666;">Shyama Shastry</span>, one of the famous trinity. He also has the unique distinction of being a disciple of all the three of the trinity, having also learnt from <span style="color:#ff6666;">Shri Tyagaraja</span> and <span style="color:#ff6666;">Muthuswamy Dhikshithar</span>.<br /><br />Subbaraya was born as the second son of <span style="color:#ff6666;">Shyama Shastry</span> in Tanjavur. He studied music initially from his father. Later Shyama Shastry asked Thyagaraja to teach his son and sent Subbaraya to him. Thyagaraja had great respect for Shyama Shastry and gladly took Subbaraya as a disciple, who soon became one of his favourite students. After a few years Subbaraya came back and continued his studies under his father. He also had the opportunity to learn a few krithi-s from Dheekshithar. He also learnt Hindustani music from Ramadas Swami.<br /><br />Later Subbaraya Shastry shifted to Udayarpalayam, whose rulers became his patrons. Since he had no sons, he adopted his nephew Annasami Sastri, who became his primary disciple and an accomplished composer. Tanjavur Kamakshi, the dancer, was one of his disciples. Legendary Veena Dhannammal was the grand daughter of Tanjavur Kamakshi.<br /><br />Subbaraya Shastry composed only a couple of dozen krithi-s. But their rasa-bhava, devotion and intricacies have made them enduring and famous. Influence of all three of the trinity can be found in his compositions - words and chitha swara-s by his father, and in madhyama kaalam by Tyagaraja, slower speeds by Dhikshithar.<br /><br /><span style="color:#ff0000;">Mudra:</span> Kumara<br /><br /><span style="color:#ff0000;">Genre Carnatic:</span> Krithi<br /><br /><span style="color:#ff0000;">Languages used:</span> Telugu<br /><br /><span style="color:#ff0000;">Compositions:</span><br /><br />Janani ninnu vina - Ritigaula - Chapu<br /><br />Minanayana - Darbar - Rupaka<br /><br />Ninnuvina gati gana - Mecha Kalyani - Adi<br /><br />Sri Kamalambika - Desya Todi - Rupaka<br /><br />Vanajasana vinutha - Shri - RupakaKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-11106364649855020352007-08-15T10:58:00.001-07:002007-08-15T11:02:28.001-07:00Mysore Sadashiva Rao (1800-1870) Biography and Works<strong><span style="color:#ff0000;">Biography</span></strong><br /><strong><span style="color:#ff0000;"></span></strong><br /><strong><span style="color:#ff0000;">Mysore Sadashiva Rao was one of the most important composers and followers of musical traditions of </span></strong><a href="http://www.musicalnirvana.com/composers/thyagaraja.html"><strong><span style="color:#ff0000;">Sri Tyagaraja</span></strong></a><strong><span style="color:#ff0000;">.</span></strong><br /><br />A prominent vocalist of the Mysore court, he can be credied as the pioneer of Mysore Bani. Sadashiva Rao was born to Ganesha Rao and Krishna Bai at Girampet near Chittoor in North Arcot. They were Marathi Smartha Deshasthas. He had his musical training under Venkataramana Bhagavatar, a pupil of Thyagaraja. Two of his patrons, brought him to Mysore and introduced him to Sri Krishnaraja Wadayar III, the Mysore king at the time. Impressed by his singing, he was made a court musician.<br /><br />Sadashiva Rao was also a great teacher. His disciples like Veena Sheshanna and Veena Subbanna later became legendary musicians. Sadashiva Rao has composed mostly in Telugu. He went on a pilgrimage of south India and composed krithi-s at all the temples he visited. He also composed a krithi for Thyagaraja and sung it when he visited Walajapet.<br /><br /><a name="compositions"></a><span style="color:#ff6666;">Mudra:</span> Sadashiva<br /><br /><span style="color:#ff6666;">Genre Carnatic:</span> Krithi<br /><br /><span style="color:#ff6666;">Languages used:</span> Telugu, Sanskrit <br /><br /><span style="color:#ff6666;">Compositions:</span><br /><br />Devadideva - Mayamalavagaula - Adi<br /><br />Gangadhara Tripuraharana - Purvikalyani - Misra Chapu<br /><br />Paramabhuta Maina - Khamas - Adi<br /><br />Sita Lakshmana Sametha- Kambhoji - Jhampa<br /><br />Sri Kamakotipeetha - Saveri - AdiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-85195971147269376452007-08-15T10:54:00.000-07:002007-08-15T10:57:55.553-07:00Veena Kuppayyar (1798-1860) Biography and Works<strong><span style="color:#ff0000;">Veena Kuppayyar was a famous vainika (veena player), disciple of Shri Thyagaraja and a composer of merit.</span></strong><br /><br />Veena Kuppayyar was born into a musical family in Tiruvottiyur. His father Sambamoorti Sastri was a famous vocalist and a veena player. Kuppayyar had his initial training from his father. Later he became a disciple of Thyagaraja and learnt composing from him. He was also a Sanskrit and Telugu scholar. He also learnt violin, which was a new instrument in Carnatic music at the time. But, it was for his profiency in Veena that Kuppayyar came to be well known and veena became a part of his name too.<br /><br />Veena Kuppayyar later shifted to Muthialpet in Madras. Kovur Sundara Mudaliar was his primary patron and enjoyed the status of asthana vidhwan there. Even Thyagaraja visited Mudaliar's madras house. Kuppayyar trained a lot of disciples in his gurukula, who carried forward the Thyagaraja shishya parampara, helping to spread his krithi-s and music.<br /><br />Veena Kuppayyar composed in Telugu, both krithi-s and varnam-s. His varnam-s like saami ninne kori (Shankarabharanam) are very famous. His mudra was <span style="color:#ff6666;">Gopaaladaasa</span>, in honour of his family diety.<br /><br /><span style="color:#ff0000;">Mudra:</span> Gopaladasa<br /><br /><span style="color:#ff0000;">Genre Carnatic:</span> Krithi, Varnam<br /><br /><span style="color:#ff0000;">Languages used:</span> Telugu<br /><br /><span style="color:#ff0000;">Compositions:</span><br /><br />Inta Paralekha - Begada - Rupaka<br />Vinayaka Ninnuvina - Hamsadvani - Adi<br />Inta Chalamu - Begada - Adi<br />Inta Chouka - Bilahar - Adi<br />Nenarunchi - Danyasi - Khanda Ata<br />Koniyadina - Kambhoji - Adi<br />Sami ninne kori - Sankarabharanam - AdiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com5tag:blogger.com,1999:blog-3207072992206519076.post-74578179202601336362007-08-15T10:45:00.000-07:002007-08-15T10:52:08.468-07:00ARUNAGIRINATHAR (15th century)<a href="http://bp1.blogger.com/_izbXUVoYKD4/RsM8-pNe9KI/AAAAAAAAABs/JegyTJXS0Uk/s1600-h/arunagir.jpg"><img id="BLOGGER_PHOTO_ID_5098986250025497762" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/RsM8-pNe9KI/AAAAAAAAABs/JegyTJXS0Uk/s320/arunagir.jpg" border="0" /></a><br /><p><span style="color:#ff0000;">Musical Background:</span> Although in his early years he was known to have led an immoral life, he later reformed himself and spent the rest of his life in music.</p><br /><p><span style="color:#ff0000;">Region:</span> He hailed from Tanjavur district, Tamilnadu. He is also believed to have travelled far and wide, to visit temples, singing in praise of many deities.</p><br /><p><span style="color:#ff0000;">Contribution:</span> He was the creator of <em><span style="color:#ff6666;">Tiruppugazh</span></em>, which means, "<span style="color:#3366ff;">praise of God</span>" in Tamil. He was a prolific composer, who is believed to have composed <span style="color:#ff6666;">16000</span> songs, of which only about <span style="color:#ff6666;">2000</span> remain today. His <em><span style="color:#ff6666;">Tiruppugazhs</span></em> are known for their beautiful, flowing lyrics coupled with complex rhymes and rhythmic structures. His <em><span style="color:#ff6666;">Tiruppugazhs</span></em> led to the invention of a new genre of tala called <em><span style="color:#ff6666;">Chanda Tala</span></em>. Thus he earned the title,"<span style="color:#ff6666;">Chanda Pavalaperuman</span>", meaning, "unequalled master of the verse". He also composed in many of the <span style="color:#ff6666;">35 </span>talas, <span style="color:#ff6666;">175</span> talas, as well as <span style="color:#ff6666;">108</span> talas. He was well known for the rhythmic intricacies he wove effortlessly into his compositions. His work, Bhoota Vetala Vaguppu, contains information about some Ragas, Panns, the <span style="color:#ff6666;">108</span> talas and percussion instruments, making it invaluable from a historical point of view. All the <em><span style="color:#ff6666;">Tiruppugazhs</span></em> end with the word "perumale...", making it easy to identify the composer. </p><br /><p><span style="color:#ff6666;"><span style="color:#ff0000;">Theme</span>:</span> Devotion was the main theme. Although he composed mainly on Lord Subramanya, there are Tiruppugazhs on other deities like Lord Ganesha too.</p><br /><p><span style="color:#ff0000;">Languages used:</span> Tamil.</p><br /><p><span style="color:#ff0000;">Popular Compositions:</span> Vachana miga (Atana), Erumayileri (Hamsanandi / Mohanam), Tullumada (Hamsanandi) etc. </p><br /><div></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-54097750710821524062007-08-15T10:33:00.002-07:002007-08-15T10:44:39.019-07:00JAYADEVA (1101-1173) Biography and Works<a href="http://bp2.blogger.com/_izbXUVoYKD4/RsM7M5Ne9JI/AAAAAAAAABk/B4pCb6aENoY/s1600-h/jayadeva.jpg"><img id="BLOGGER_PHOTO_ID_5098984295815378066" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp2.blogger.com/_izbXUVoYKD4/RsM7M5Ne9JI/AAAAAAAAABk/B4pCb6aENoY/s320/jayadeva.jpg" border="0" /></a><strong><span style="color:#ff0000;">Jayadeva was perhaps the first composer to specifically mention the raga and tala of each of his poems</span>.</strong><br /><p>His <em><span style="color:#ff6666;">Ashtapadhis</span></em> have been very famous among the carnatic artists, though, it is not very certain whether the specific ragas are sung the same way now as was done in Jayadeva's time. </p><p>Jayadeva is most well knows for his Sanskrit magnam opus <span style="color:#ff6666;">Githa Govinda</span>. He is also very prominent among the Vaishnavaite poets.</p><p><span style="color:#ff0000;">Musical Background:</span> Jayadeva, the author of Githa Govinda, is an illustrious Sanskrit composer. He became an erudite scholar early in his life.</p><p><span style="color:#ff0000;">Region:</span> He was born at <span style="color:#ff6666;">Kindubilva (also called Kenduli) </span><span style="color:#000000;">in Orissa</span>. The village Kenduli is on the northern banks of the river <em>Ajaya</em>, in the delta of Veerabhoomi. He refers to his birthplace in the <em><span style="color:#ff6666;">7th Ashtapadi</span></em>: "<span style="color:#3366ff;">Kindubilva Samudra Sambhava</span>". He was an <em>Oriya Brahmin</em>, born to <span style="color:#ff6666;">Bhojadeva and Ramadevi</span>.</p><p><span style="color:#ff0000;">Contribution:</span> Gita Govinda, a widely known, highly popular opera of Jayadeva is the staple of devotional singers. They constitute the Songs Celestial called <em><span style="color:#ff6666;">Ashtapadi</span></em> as each has eight steps. The<span style="color:#ff6666;"> 24</span> songs have been translated into many languages of the world. All the hymns contain mangala slokas at the end. The place where Jayadeva began and completed the hymns has since been called <em><span style="color:#ff6666;">Jayadevapura</span></em>.</p><p><span style="color:#ff0000;">Theme:</span> Devotion through Sringara Rasa (romanticism).</p><p><span style="color:#ff0000;">Languages used:</span> Sanskrit and Oriya</p><p><span style="color:#ff0000;">Signature:</span> He used his own name as mudra.</p><p><span style="color:#ff0000;">Popular compositions:</span> Rase harimiha</p><p><span style="color:#ff0000;">Compositions:</span> </p><p>Pravisarade Ghanta Jhampa Ashtapadi </p><br /><p>Radhika Krishna Desakshi Adi Ashtapadi</p><br /><p>Ratisukhasare Kedaragaula Adi Ashtapadi </p><br /><p>Srita Kamala Bhairavi Triputa Ashtapadi </p><br /><div></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-77277746079663627602007-08-15T10:07:00.001-07:002007-08-15T10:32:21.703-07:00Mysore Vasudevacharya - (1865-1961) Biography and Complete Works<a href="http://bp3.blogger.com/_izbXUVoYKD4/RsM4VJNe9II/AAAAAAAAABc/lMRMuF7Acuo/s1600-h/mysore.jpg"><img id="BLOGGER_PHOTO_ID_5098981139014415490" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_izbXUVoYKD4/RsM4VJNe9II/AAAAAAAAABc/lMRMuF7Acuo/s320/mysore.jpg" border="0" /></a><br /><p><strong><span style="color:#ff0000;">Biography</span></strong></p><br /><p><strong><span style="color:#ff0000;">Mysore Vasudevachar is perhaps the most important carntic composer of the 20th century</span></strong></p><br /><p>Vasudevachar was born in Mysore on <span style="color:#ff6666;">28th May, 1965</span>. He was trained in Sanskrit by his maternal grand father after the early demise of his father. His intial musical training was from Veena Padmanabhayya of Mysore, but his musical lineage can be traced to Saint Tyagaraja through Manambuchavadi Venkatasubbayyar and Patnam Subramania Iyer. As a teenager, his fame reached the Maharaja of Mysore, who had him sent to Tiruvayyar to learn music under Patnam Subramanya Iyer. He learned music there and then returned to Mysore and was appointed astaana vidwan athe royal court. Towards the end of his life, he was invited by Rukmini Arundale to teach at Kalakshetra and came to Madras. Eventually he became the principal of the school of arts. His contemporaries at Kalakshetra included Tiger Varadachariar, Veena Krishnamachariar and Mazhavaraya-nendal Subbarama Bhagavatar.<br />He has more than <span style="color:#ff6666;">200</span> compositionsand published <span style="color:#ff6666;">150</span> himself, and now <span style="color:#ff6666;">140</span> are included in a set a set of <span style="color:#ff6666;">21</span> cassettes. His compositions include pada varnams, taana varnams, kritis, javalis, tillanas and ragamalikas, and he composed in both chaste Telugu and Sanskrit. He used common ragas and popularized ragas like abheri, behaag, and khamas (using kaakali Ni unlike Tyagaraja) with his famous compositions, but he also used unusual ragas like megharanjani, sunaadavinodini, pushpalatika, and sudda saalavi. His compositions were set in various talas. He is well known for the citta swaras he composed for his kritis. Mr.Ashok Madhav relates:<br />Around 1930's, Maharajapuram Vishwanatha Iyer rendered Vasudevacharya's kriti- 'Brochevarevarura' in Khamas with much polish in his concert. Vasudevacharya, who happened to be at the concert remarked to Vishwanatha Iyer "My composition like a simple girl was metamorphosed into a beautiful damsel. That is how well you beautified the composition with your embellishments". After a long and fruitful life he breathed his last in <span style="color:#ff6666;">17th May, 1961</span> at the age of <span style="color:#ff6666;">96</span>.</p><br /><p><span style="color:#ff0000;">Genre Carnatic:</span> Krithi, Varna </p><br /><p><span style="color:#ff0000;">Languages used:</span> Telugu, Sanskrit, Kannada </p><br /><p><span style="color:#ff0000;">Mudra:</span> Vasudeva </p><br /><p><span style="color:#ff0000;">Compositions:</span> </p><br /><p>Abhimanamutho Shanmukhapriya Triputa Krithi</p><br /><p>Bala gopalam Bhairavi Adi Krithi </p><br /><p>Bhaja manasa Mandari Misra Chapu Krithi </p><br /><p>Bhaja manasa Saraswati Sankarabharanam Adi Krithi </p><br /><p>Bhajana Seyarada Dharmavathi Rupaka Krithi</p><br /><p>Bhajare re manasa Abheri Adi Krithi </p><br /><p>Bhavayacham Hindusthani Behag Adi Krithi </p><br /><p>Bhavayachyutham Purvikalyani Adi Krithi </p><br /><p>Brocheva re varura Khamas Adi Krithi </p><br /><p>Brovarada Sri Varunapriya Adi Krithi </p><br /><p>Chintayesham Mayamalavagaula Rupaka Krithi </p><br /><p>Dayaleka brathiki Sriranjini Adi Krithi</p><br /><p>Dayalelemi Rama Simhendramadhyamam Adi Krithi </p><br /><p>Deavaki Tanaya Vasudeva Pushpalatika Rupaka Krithi</p><br /><p>Devadi deva Sunadavinodini Adi Krithi </p><br /><p>Devi Rammame Vasantha Adi Krithi </p><br /><p>Devikamalalaye Garudadhwani Adi Krithi </p><br /><p>Enda nirdaya Latangi Triputa Krithi </p><br /><p>Enta ninne varnimte Nattakurinji Triputa Krithi </p><br /><p>Girija Ramana Gambhiranatta Adi Krithi </p><br /><p>Guru Raghavendran Kambhoji Adi Krithi </p><br /><p>Gurukripaleka Pushpalatika Rupaka Krithi </p><br /><p>Hare paripahi Kedaram Adi Krithi </p><br /><p>Idi niku nyayama Gamanasrama Misra Chapu Krithi</p><br /><p>Idi Samayamu Natakapriya Rupaka Krithi</p><br /><p>Indraparakelanayya Khamas Rupaka Krithi </p><br /><p>Janardhanam Chakravakam Triputa Krithi </p><br /><p>Kailasapathe Mecha Kalyani Adi Krithi </p><br /><p>Kalaye Mama hridaye Hindustani Kapi Triputa Krithi </p><br /><p>Kalinaruluku ni Mayamalavagaula Adi Krithi </p><br /><p>Kanikaramuto Mecha Kalyani Adi Krithi </p><br /><p>Karunapayonidhe Surutti Adi Krithi </p><br /><p>Karunichi nannu Navarasa Kannada Rupaka Krithi </p><br /><p>Karuninchu brovarada Bangala Adi Krithi </p><br /><p>Kripathonu nannu Harikamboji Adi Krithi</p><br /><p>Kurume kusulam Kamalamanohari Adi Krithi </p><br /><p>Lambodaram Kambhoji Rupaka Krithi </p><br /><p>Mahatmule ne telliya Rishabhapriya Adi Krithi</p><br /><p>Mama hridaye Ritigaula Adi Krithi </p><br /><p>Mamava mridajaye Vasantha Adi Krithi </p><br /><p>Mamavasu Govinda Sama Rupaka Krithi </p><br /><p>Manasa vachasa Begada Adi Krithi </p><br /><p>Marachithivemo nannu Purvikalyani Rupaka Krithi</p><br /><p>Marimari ahambahye Kambhoji Adi Krithi </p><br /><p>Na chai vidaivakura Nattakurinji Rupaka Krithi</p><br /><p>Namami vidyathnakara Dhanyasi Adi Krithi </p><br /><p>Namosthuthe Mecha Kalyani Adi Krithi </p><br /><p>Nannu brova pada Madhyamavathi Adi Krithi </p><br /><p>Narayanam namata HanumaThodi Adi Krithi </p><br /><p>Neekabhimanamu Kokilapriya Adi Krithi </p><br /><p>Neekenduku dayaradu Simhendramadhyamam Adi Krithi</p><br /><p>Nera mammithi Chakravakam Adi Krithi </p><br /><p>Ni padamule Sarasangi Adi Krithi</p><br /><p>Ni padamulu Nayaki Triputa Krithi </p><br /><p>Nikeladayaradhu Kathanakuthuhalam Adi Krithi </p><br /><p>Nimishamaina Srirama Sama Adi Krithi </p><br /><p>Ninne nammithi Simhendramadhyamam Misra Chapu Krithi</p><br /><p>Ninne nera nammini Bhairavi Rupaka Krithi</p><br /><p>Ninne Saranamathi Dhenuka Adi Krithi </p><br /><p>Ninnu nammuthu Nattakurinji Adi Krithi </p><br /><p>Ninnu vinanannu Bhairavi Rupaka Krithi </p><br /><p>Nive gatiyani Mecha Kalyani Adi Krithi</p><br /><p>Pahi Krishna Hindusthani Behag Rupaka Krithi </p><br /><p>Palayasu Padmanabha Hamsadhwani Rupaka Krithi</p><br /><p>Palita bhuvana Bahudari Adi Krithi </p><br /><p>Palu kavemina Devamanohari Adi Krithi </p><br /><p>Para kelanayya Sama Adi Krithi </p><br /><p>Paratpara Raghuvira HanumaThodi Adi Krithi</p><br /><p>Pari pahi mam Dhanyasi Adi Krithi</p><br /><p>Pari pahi mam Subhapanthuvarali Adi Krithi</p><br /><p>Paripahi mam Kannada Adi Krithi</p><br /><p>Paripahi mam Ramapriya Adi Krithi </p><br /><p>Paripahimam Jaganmohini Adi Krithi</p><br /><p>Parulanu vedine Nagasvaravali Adi Krithi </p><br /><p>Pranamamayaham Gaula Adi Krithi </p><br /><p>Pranamamyaham Ranjini Triputa Krithi </p><br /><p>Pranamathasri Kaanada Adi Krithi </p><br /><p>Pranatharthihara Chenchurutti Khanda Triputa Krithi </p><br /><p>Prnamami Sri Keeravani Adi Krithi </p><br /><p>Purushothama mam palava Saveri Adi Krithi </p><br /><p>Rama nidaya Bhairavi Rupaka Krithi </p><br /><p>Ramabhirama Madhyamavathi Adi Krithi </p><br /><p>Ramam namamai Vakulabharanam Adi Krithi </p><br /><p>Rara rajivalochana Mohana Adi Krithi </p><br /><p>Rarayanipilichithe Kharaharapriya Adi Krithi</p><br /><p>Samarakshana mam palaya Abhogi Rupaka Krithi</p><br /><p>Sarada pahi mam Yadukulakambhoji Adi Krithi</p><br /><p>Sive pahi Surutti Triputa Krithi </p><br /><p>Sri Chamundeswari Bilahari Adi Krithi </p><br /><p>Sri Harivallabha Udayaravichandrika Adi Krithi </p><br /><p>Sri Mahalakshmi Paras Adi Krithi </p><br /><p>Sri Purandara guruvaram Saraswati Manohari Adi Krithi</p><br /><p>Sri Ramachandram Jhalavarali Adi Krithi </p><br /><p>Sri Saraswathim Ataana Jhampa Krithi </p><br /><p>Sri Vasudevasrikantha Devagandhari Rupaka Krithi </p><br /><p>Srikarapahi Jayantasri Rupaka Krithi </p><br /><p>Srikesava mam palaya Bhairavi Rupaka Krithi </p><br /><p>Srivasudeva Ramapriya Rupaka Krithi </p><br /><p>Taramu gadura Sahana Adi Krithi </p><br /><p>Uramululosagi Sudha Saveri Adi Krithi</p><br /><p>Vamanam anisam Nayaki Adi Krithi </p><br /><p>Vanajakshi ninne Mandari Adi Krithi </p><br /><p>Vande anisham Hamsadhwani Adi Krithi</p><br /><p>Varalakshmi Gaurimanohari Rupaka Krithi </p><br /><p>Vasudevam anaisham Kaanada Triputa Krithi </p><br /><p>Venkateswara Yadava Megharanjini Adi Krithi </p><br /><p>Mecha Kalyani Adi Tillana </p><br /><p><br />Ragamalikas:</p><br /><p>Asidhvi pravaraha kaschit muttusvami - Ragamalika/Adi</p><br /><p>Asidhvi pravaraha kaschit shyama - Ragamalika/Adi</p><br /><p>Ati vimala sugatram - Ragamalika/Tishra Dhruva</p><br /><p>Omkara panjara - Ragamalika/Adi Shankara guruvara - ragamalika/Adi </p><br /><p>Shri madhyadukula - Ragamalika/Mishra Mathya </p><br /><p>Shri rama lakshmanaviva - Ragamalika/Adi </p><br /><p>Shri ramachandra pada - Ragamalika/Adi </p><br /><p>Shripatim brahma rudradi - Ragamalika/Adi </p>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com7tag:blogger.com,1999:blog-3207072992206519076.post-86603194334734197052007-08-15T10:02:00.000-07:002007-08-15T10:07:32.083-07:00Patnam Subramanya Iyer (1845 -1902) Biography And Complete Works<a href="http://bp1.blogger.com/_izbXUVoYKD4/RsMyWpNe9HI/AAAAAAAAABU/B4ouGwrfC3o/s1600-h/patnam_subramanya_iyer.jpg"><img id="BLOGGER_PHOTO_ID_5098974567714452594" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/RsMyWpNe9HI/AAAAAAAAABU/B4ouGwrfC3o/s320/patnam_subramanya_iyer.jpg" border="0" /></a><br /><div><strong><font color="#ff0000">Biography</font></strong></div><br /><div><strong><font color="#ff0000"></font></strong></div><br /><div><strong><font color="#ff0000">Patnam Subramanya Iyer was a great vocalist, teacher and composer</font></strong>. </div><br /><div>He was born in <font color="#ff6666">1845 in Tanjavur</font> to Bharatham Vaidyanatha Iyer, his father. He hailed from a musical tradition: his grandfather was Bharatham Panchanada Sastry, the samasthana vidwan at the court of Serfoji II and his uncle Melatture Ganapati Sastrigal was also a vocalist and taught him music, along with Kothavasal Venkatarama Iyer and Manambucchavadi Venkatasubbaiyyar. Among his sishyas were Ramanathapuram (Poochi) Srinivasa Iyengar, Kakinada C.S. Krishnaswamy Iyer, G Narayanaswamy Iyer, Mysore Vasudevacharya, Guruswamy Iyer, Tiger Varadachariar, Muthialpet Sesha Iyer (known as Kulla Sesha Iyer), M.S. Ramaswamy Iyer, and Enadi Laksmi. He was the Asthana Vidwan to the Courts of Travancore, Mysore, Vijayanagaram and Ramanathapuram. He has composed over a<font color="#ff6666"> 100</font> pieces, including tana and pada varnas, kritis, tillanas and javalis. He has set a pallavi to the Simhanandana Tala, the longest tala. He used the mudras Venkateswara, Adi Venkateswara, Varada Venkateswara, Sri Varada Venkateswara or Venkatesa. He is credited with the creation of the raaga Kathana Kuthuhalam. Famous for singing begada, he earned the name <font color="#ff6666">Begada Subramanya Iyer</font>. He died <font color="#ff6666">July 31st, 1902 in Tiruvayyar</font>. </div><br /><div><br /><font color="#ff0000">Mudra:</font> Venkatesha, Venkateswara </div><br /><div><br /><font color="#ff0000">Genre Carnatic:</font> Krithi, Varnam, Javali, Tillana </div><br /><div><br /><font color="#ff0000">Languages used:</font> Telugu, Sanskrit, Tamil </div><br /><div><br /><font color="#ff0000">Compositions:</font></div><br /><div><br />Aa samayam unakemi Saranga Adi Krithi Abhimanamu Begada Adi Krithi Aparadamulam Latangi Adi Krithi Appudu manasu Khamas Rupaka Krithi Apudu manasu Khamas Rupaka Javalli Bhajare manasa Sugunabhushani Rupaka Krithi Chelineneku Paras Adi Javali Dari teliyaka Darbar Ata Krithi Emisethine Bhairavi Ata Swarajati Endukina modi Sri Adi Varna Endukitu chapalamu Mandari Chapu Krithi Ennadi ni kripa Vachaspathi Rupaka Krithi Ennadu daya Balahamsa Rupaka Krithi Eppudu kripa Mukhari Adi Krithi Eranapai Mukhari Adi Varnam Ernanapai HanumaThodi Adi Varna Etu namminavo Saveri Adi Krithi Evaribodha Abhogi Adi Varna Evarunaru nannu Simhavahini Adi Krithi Everemi bodhana Sahana Ata Varnam Garuda gamana Nagasvaravali Rupaka Krithi Ikenelane Purnachandrika Adi Krithi Inka chalamela Chakravakam Ata Varna Inkadaya Chakravakam Adi Krithi Intakande Kannada Rupaka Krithi Ithivaru lethiki Ramapriya Adi Krithi Iti nyayama Malavi Adi Krithi Jalajakshi Chakravakam Adi Varna Kanna tandri nive Narayani Adi Krithi Kanukontani Desya Todi Adi Krithi Korinavara Ramapriya Rupaka Krithi Mana cheko vayya Sarasangi Rupaka Krithi Manasethiki Saveri Ata Varnam Manasu karuga Hamsadhwani Rupaka Krithi Manasuna nera Begada Rupaka Krithi Maravakave Sama Rupaka Krithi Marivere Latangi Khanda Chapu Krithi Marivere Dikkevarayya Shanmukhapriya Adi Krithi Mariyada teliyakane Surutti Rupaka Krithi Nannu brova rada Bhairavam Tisra Eka Krithi Naravara Raghunandana Manirang Adi Krithi Nejesana Purnachandrika Adi Krithi Nerumchokora na pai Sankarabharanam Adi Krithi Ni padamule Bhairavi Adi Krithi Nijadasavarada Mecha Kalyani Adi Krithi Nijamukha Rama Keeravani Adi Krithi Nilu parani Mohamuto Sankarabharanam Ata Varna Ninnu joochi Saurashtram Adi Krithi Ninujerppa Mandari Adi Krithi Nive gatiyeni Purnachandrika Adi Krithi Padaredi meraggadura Yadukulakambhoji Ata Krithi Palaya Sri Sankarabharanam Adi Krithi Palukudache Phalamanjari Adi Krithi Palumaru ninne Natta Adi Varnam Panchapakeswara Ramapriya Adi Krithi Parabrahmanu ni Kapinarayani Adi Krithi Paritanamichithe Bilahari Khanda Chapu Krithi Raghuvamsa sudha Kathanakuthuhalam Adi Krithi Rama ika nannu Sahana Rupaka Krithi Samayamide Kedaram Rupaka Krithi Samayamide rara Hindusthani Behag Adi Krithi Sami ni vega Nattakurinji Ata Krithi Samidi velakudura Kannada Adi Krithi Sankalpam Kharaharapriya Adi? Krithi Sarasa ninne Nattakurinji Adi Krithi Sarasiruhanana Brindavanasaranga Adi Krithi Srikara raghuvara Saraswati Adi Krithi Tadim dhanita Paras Adi Thillana Tamasimchaka Asaveri Adi Krithi Vagaradibhodana Hindusthani Behag Adi Javali Varamiyya vayya Udayaravichandrika Adi Krithi Varamolusagi Keeravani Rupaka Krithi Varamujavayya Udayaravichandrika Adi Krithi Veruvanela Sudha Bangala Adi Krithi </div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-63908499439923746572007-08-15T09:34:00.000-07:002007-08-15T09:48:06.850-07:00SWATI TIRUNAL (1813 - 1847) Biography and Complete Works<a href="http://bp1.blogger.com/_izbXUVoYKD4/RsMuDpNe9GI/AAAAAAAAABM/cZHy-XfVodE/s1600-h/swati.jpg"><img id="BLOGGER_PHOTO_ID_5098969843250426978" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/RsMuDpNe9GI/AAAAAAAAABM/cZHy-XfVodE/s320/swati.jpg" border="0" /></a> <div><font color="#ff0000"><strong>Biography</strong></font></div><br /><div><strong><font color="#ff0000"></font></strong></div><br /><div><font color="#ff0000"><strong>Sri Swathi Thirunal Rama Varma (April 16, 1813 - December 25, 1846)</strong></font> was a South Indian king of the state of Travancore, in India. His reign lasted from <font color="#ff6666">1829 to 1846</font>. He was born a king, and was in power even before birth. Therefore, he is called <font color="#ff0000">Garbha Sreeman</font>.</div><div><br />Besides being an able ruler, he was a patron of music and a musician by himself. He encouraged both broad systems of Indian music, Hindustani and Carnatic music, though he was essentially a connoisseur of the carnatic music tradition.</div><br /><div><br />He was born in the royal family of Travancore in <font color="#ff6666">1813</font> and learned English, Sanskrit, Hindi, Telegu, Marathi and Kannada at an early age, along with music. At 16, he became King of Travancore and had in his court famous musicians such as Kannaiah Bhaagavatar (disciple of Tyagaraaja); the Tanjaavoor brothers Ponniah, Shivaanandam, and VaDivElu; COlaapuram Raghunaata Rao; Harikata Meru Swami; and Irayimman Tampi along with a few renowned Hindustani musicians. He is said to have composed about <font color="#ff6666">400</font> songs in both familiar and rare raagams. His "Navaraatri Keertanais" and "Navaratna Maalika <font color="#ff6666">Keertanais</font>" are famous, and his "<font color="#ff6666">Navaratna Maalai</font>" contains 9 songs representing the <font color="#ff6666">9 </font>kinds of devotion. He has composed many beautiful raagamaalikas (songs in multiple raagams). His "Bhaavaiyaami raghuraamam" was composed entirely in the raagam saavEri but was made into a raagamaalika by SemmanguDi Shreenivaasa Ayyar. He also composed <font color="#ff6666">65</font> padams and many tillaanaas. His songs are composed in a variety of taaLams and his varnams are popular. Being a great patron of the dance form KatakaLi, he invited dancers to come perform - and composed swarajatis and jaavalis as well as Hindustani-style songs. Some say that some compositions attributed to him were really composed by some great musicians of his court. His life was short and he died on <font color="#ff6666">December 25, 1846, at</font> <font color="#ff6666">34</font>. At least <font color="#ff6666">125</font> of his compositions are available today. </div><br /><div><br /><font color="#ff0000">Musical Background:</font> Swati Tirunal was groomed to be a king and he was trained in various areas in which a king was expected to be proficient. He was fluent in <font color="#ff6666">13 </font>languages and was able to write poems and songs. He was also well-versed in other arts like painting and sculpture and was himself a great patron of these arts. Region: He was born in Travancore, Kerala.</div><br /><div><br /><font color="#ff0000">Contribution:</font> He is believed to have composed around <font color="#ff6666">500</font> songs. Besides Varnams, Kritis, Swarajatis, Padams and Javalis, he authored two musical plays. Besides these, he also composed Dhrupads, Khyal, Tappas, Thumris and Bhajans in the Hindustani style. Like Dikshitar, he composed a set of Navaratri kritis, one for each day of the Navaratri festival, in praise of Goddess Devi. </div><br /><div></div><br /><div><font color="#ff0000">Theme:</font> Mainly devotional and occasionally romantic. Most of his compositions are on Lord Padmanabha but as mentioned earlier, he has also composed on Goddess Devi (Parvati).<br /></div><br /><div><font color="#ff0000">Languages used:</font> His compositions were mainly in Sanskrit, but he has also composed in Malayalam, Telugu and Hindi.</div><br /><div><br /><font color="#ff0000">Signature:</font> He used the mudra Padmanabha and its variations, Jalajanabha, Pankajanabha and Sarasijanabha.</div><br /><div><br /><font color="#ff0000">Popular compositions:</font> Bhavayami (Ragamalika), Bogindra sayinam (Kuntalavarali), Deva deva (Mayamalavagowla), Kripaya palaya (Charukesi) and so on.</div><br /><div><br /><font color="#ff0000">Mudras:</font> Padmanaabha, Pankajanaabha, Sarasijanaabha, Saraseeruha naabha, Kanja naabha, Jalaja naabha </div><br /><div><br /><font color="#ff0000">Compositions:</font></div><br /><div><br />adrisutavara - kalyani<br />aliveni - kurinji<br />bhavayaami - ragamalika<br />bhogeendra shayanam - kuntala varali<br />chaliye kunjanamu - brindavan sarang<br />deva deva jagadeeshwara - poorvi kalyani<br />deva deva kalayaami - mayamaalava gowla<br />devi jagajjanani - shankaraabharanam<br />gopalaka pahimaam - boopaalam<br />gopanandana valaripunuta - bhooshavali<br />indumukhi - shankaraabharanam<br />itu sahasamula - saindhavi<br />jaya jaya devi - yamuna kalyani<br />jaya jaya padmanaabhaanujesha - manirangu<br />mamavasadaa janani - kaanada<br />pahi jagajjanani - hamsanandi<br />pahi jagajjanani - vachaspati<br />pahimaam shree - kalyani<br />pahi parvatanandini - arabi<br />pahi shreepathe - hamsadwani<br />pankajaaksha tava - thodi<br />paripaahi maamayi - kalyani<br />paripaalaya maam - reetigowla<br />raajeevaaksha baaro - shankaraabharanam<br />raama raama gunaseema - simhendra madhyamam<br />saramaina-behaag, neelaambari<br />saamajendra bheetiharana - bhoopalam, revagupti<br />tillana - dhanashree<br />vande sadaa padmanabham - navarasa kannada<br />vihara manasa - kapi<br />vishveshvara darshana - dhanashree</div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-32157861665749875542007-08-15T09:04:00.000-07:002007-08-15T09:32:55.280-07:00SADASIVA BRAHMENDRA (18th century)<span style="color:#000000;">The mystic saint that we want to talk about is <span style="color:#ff6666;">Sadasiva-brahmendra</span>. Regarding his time there is not enough evidence. It has to be some period of time between the middle of the sixteenth century and the middle of the eighteenth century. The reasons are as follows. The 57th pontiff of the Kanchi Kamakoti Mutt, namely Sri Paramasivendra Saraswathi (1538 –1586) had a pupil by name Ramanatha who later had a pupil by name Nallai Adhvari. This Adhvari acknowledges Sadasiva-brahmendra as his guru. A junior contemporary of Sri Paramasivendra saraswathi was Nilakanta-Dikshidar, grandson of the brother of the famous Advaita scholar-devotee Appayya Dikshidar (1520 – 1593). Appayya Dikshidar was a great scholar-teacher of advaita vedanta, hailing from Tamilnadu. He was the guiding spirit of a movement in which he organized the services of a large band of volunteers who could disseminate among the masses the philosophy of advaita and the worship of Lord Siva. Having mastered, at a very early age, all the knowledge available at the time in philosophy, rhetoric and literature, he wrote about a hundred works, of which only 60 are now extant, in philosophy, devotional poetry and literary and philsophical criticism. His poetical talent is transparent in all these works. He is said to have travelled widely, entering into philsophical disputations and controversies in many centres of learning, including Varanasi. He was so firm in his belief in advaita that he had no qualms in using his talent to the elucidation of other schools of thought like those of Vedanta-desikacharya of whom he was an admirer. His was a mighty intellect and he led a life of karma, bhakti and jnana, setting a model for posterity to follow. </span><br /><span style="color:#000000;"><br />This Nilakanta, the grandson of Appayya Dikshidar, was the chief minister of King Tirumalai-Nayak of Madurai. Nilakantha had a pupil Ramabhadra who had a pupil by name Venkatesa Dikshidar who later came to be known by the name Ayyaval of Tiruvisanallur. This Ayyaval and Sadasiva Brahmendra had been schoolmates. This much is known. On the other side we know that Sadasiva Brahmendra met the Tamil scholar-poet-devotee-philosopher Tayumanavar (1705 – 1742?) in 1738 A.D. Raghunatha Raya Tondaiman (Rajah of Pudukkottai) (1730-1769) subscribes to this meeting. These are the major factors for scholars coming to the almost unbelievable conclusion that Sadasiva perhaps lived for nearly <span style="color:#ff6666;">200</span> years. But if we know what kind of mystic and knower of brahman he was, we tend to feel that the improbable could have been possible. The Upanishadic maxim: brahmavid brahmaiva bhavati ( meaning, the knower of brahman is brahman), really applies to Sadasiva Brahmendra. It is only in mythology we come across such a brahma-vit - examples are: boy-sage Suka, and Sage jaDa-bharata - but in our own historical world, such examples are rarest of the rare. Sadasiva Brahmendra is one such. </span><br /><span style="color:#000000;"><br />Growing up in a village on the banks of the Cauvery in Tamilnadu, Sadasiva was a most gifted student, much given to arguing and debating. After an early marriage and a spark of revelation on the day of his wife’s reaching puberty he renounced the world and performed a strenuous sAdhanA for eighteen years. One day he was taunted by his guru for his talkativeness. On that day he took a vow of silence and he kept it up for the rest of his life which he spent as a wandering naked (avadhUta) sannyasi. The songs he composed during the period of his discipleship are still very popular. In his wanderings, of which we have no complete record, he is said to have performed many miracles which were just an overflowing of the compassion he had for all humanity. He was one of the greatest of siddhas. His mind was always immersed in the Absolute brahman. His name is part of the folk-lore in all of South India. His major work is brahma-sUtra-vRtti, which is a scholarly but lucid commentary on the brahma-sUtras. He has thirteen other works to his credit - such as, yoga-sUtra-vRtti, also called yoga-sudhAkaram; jagad-guru-ratna-mAlotsava, a history of Kanchi Kamakoti mutt in 87 verses; advaita rasa-manjari in 45 verses; and others. His Atma-vidyA-vilAsam is a composition in 62 verses together forming a spiritual autobiography. The verses describe how a knower of brahman would behave and as far as the folklore and all the stories about Sadasiva-brahmendra go, the description fits him most suitably. <strong>He may be rightly called the Saintly Perfection of the Impersonal absolute.</strong> <br /><br /></span><span style="color:#3366ff;">Fully engrossed in the enjoyment of his own bliss, he remains in another world as it were; and as strikes his fancy, here he is engaged in thought, there he is singing and there he is dancing. Verse No.21</span><br /></span><span style="color:#000000;"><br /><span style="color:#3366ff;">The sage shines supreme, silent and placid, with the ground under the tree as his resting place and with his palm as the begging bowl, wearing no clothes but only the jewel of non-attachment Verse No.35</span><br /><br /><span style="color:#3366ff;">Having dissolved the entire world (by right knowledge) and being under the power of the all-embracing substratum that survives such dissolution, he puts into his mouth by force of prArabdha-karma, the handful of food which comes to him Verse No.40</span><br /><br /><span style="color:#3366ff;">The yogi sees nothing, speaks nothing and hears nothing that is spoken. He remains steadfast in the incomparable region of bliss, immovable like a log of wood. Verse No.44</span><br /><br /><span style="color:#3366ff;">The great renouncer who knows the Truth of all the vedas wanders like an ignorant fool un-noticed, devoid of all sense of difference and seeing only Perfection everywhere and in all creatures. Verse No. 45</span><br /><br /><span style="color:#3366ff;">Embracing the Lady Equanimity and having been overpowered by Bliss he sleeps with his head for a pillow, with nothing for cover and with the bare ground for a bedding. Verse No.46</span><br /><br /><span style="color:#3366ff;">The sage rejects nothing considering it bad; nor does he accept anything, considering it good. Knowing that everything is the result of Ignorance, he remains unattached. Verse No.50</span><br /><br /><span style="color:#3366ff;">He does not think at all of what is past, nor does he care in his mind about the future. He does not even care who is in front of him, for He is the One Perfect Bliss in everything. Verse No.51</span><br /><br /><span style="color:#3366ff;">The king of renouncers rests alone, rooted in Self and enjoying the Inner Bliss; he rejects nothing that comes to him and never desires what does not come to him. Verse No.53</span><br /><br /><span style="color:#3366ff;">The great ascetic transcends the rules of caste and status shaking off from him the injunctions and prohibitions of the scriptures and he remains merely the perfect Knowledge-Bliss. Verse No.57</span><br /><br />This was exactly how he himself lived. So it is very difficult to get any historical help from stories about him. He was such a mystic that any story could have fitted him. To sift fact from fancy is utterly impossible. However a few miracle-stories that have been catalogued by no less a person than the famous Sankaracharya of Sringeri himself may be cited, because we may trust the yogic capabilities of the Swami who must have had his own reasons to list them in the only written biography, composed by him, that we have of Sadasiva Brahmendra. Believe them or not, here are the stories.<br /><br />On the river banks of the Cauvery in Mahadanapuram in Tiruchy District he was seen by a few kids. They requested him to take them to the religious fairs in Madurai, that time being the solar month of Leo when the Madurai temple has usually an annual festival. The sage perhaps felt an overflow of compassion for them. He asked them to close their eyes and in no time they were in Madurai (more than 100 miles away); they had their darsan of the Lord and the Goddess there, they feasted at the festivities and in due time before it was night they were back in Mahadanapuram on the same banks of the Cauvery. The parents of the children would not believe the stories but their graphic description of the Madurai festivities right to the last detail baffled them. They ran to the Cauvery banks to look for the sage but he was not there.<br /><br />On the river bed of Kodumudi river Sadasiva Brahmendra was sitting in trance on the sands. Suddenly water flowed down the river in a flood and the river was flooded for the next few months. Spectators saw water submerge him as he was still sitting in his trance. He was given up as drowned. But three months later when the floods subsided he was still there in the same trance posture; he just rose up and walked away.<br /><br />It was harvest season. He was seen ‘carelessly’ crossing the haystacks which have been piled up on the paddyfield. The warnings given to him to avoid the haystacks went unheeded. One of the men around raised his hatchet to hit him. But lo! the raised hand stayed right there. The sage was walking along as if nothing had happened. The rest of the spectators ran to him and pleaded that he save the man who had raised his hand to hit him. The sage looked back and the hand came down. The sage walked away.<br /><br />Long after all these happened when almost people had forgotten the memories of his wandering in their lands, once the naked sannyasi was seen walking right through a muslim harem of a Nawab. As a brahma-jnani who sees nothing but brahman everywhere, he would not distinguish between the different human figures which cross his path nor would he be distracted by the sights or noises that his environment may present to him. It was in this state of trance that he was walking along. He, the naked sannyasi, walked straight into the harem, entering it at one end and walking out at the other all the while walking through a maze of inmates of the Nawab’s harem. The news reached the nawab, he had his men chase him, they cut off both his hands as he was walking along, the hands fell off and … still he was walking along silently as if nothing had happened. The nawab got scared, picked up the hands that had been severed, ran to the Sage and offered them in total remorse. The sage stopped his walking, the severed hands were restored to their place, the hands became normal and the sage walked away! There was no conversation.<br /><br />It was Venkatesa AyyavaL, his classmate of old times, that broke his silence, maybe once or twice. During his discipleship days Sadasiva used to sing bhajans in a sweet voice. AyyavaL reminded him of those good old days and implored him to sing again for the benefit of the people who would certainly enjoy listening to his songs. Then came some wonderful songs, all of them having the theme of ‘The Experience of the Bliss of remaining in the Absolute brahman’ – brahmA-nubhavaM, brahma-saMsparzaM, brAhmI-sthiti as it is variously called in the Gita and elsewhere. Sadasiva-brahmendra’s songs are so delightfully full of this blissful divine experience that they are even now constantly rendered by musicians in concerts and public gatherings for a spiritual purpose; and when they are so rendered, no one will miss the elevating moods that they generate - even in those who do not understand the language, Sanskrit, in which it has been composed by the saint. </span><br /></span><span style="color:#ff0000;"></span><br /><span style="color:#ff0000;">Musical Background:</span><br />His musical background is not known clearly. However, he was a great scholar who initially studied under Ramabhadra Dikshitar and later under the Sankaracharya of Kanchipuram. Region: He was born in Tiruvisainallur, near Kumbakonam, Tamilnadu.<br /><br /><span style="color:#ff0000;">Contribution:</span> He wrote several devotional songs, which have a simple beauty that makes them appealing. His other works include Brahma Sutra Vruddhi, Atma Vidya Vilasam and Siva Manasika Puja keertanas.<br /><br /><span style="color:#ff0000;">Theme:</span> His compositions contain high philosophical ideas, in addition to being devotional.<br /><br /><span style="color:#ff0000;">Language used:</span> Sanskrit.<br /><br /><span style="color:#ff0000;">Signature:</span> He used the mudras Paramahamsa or Hamsa.<br /><br /><span style="color:#ff0000;">Popular Compositions:</span> Bhajare Gopalam (Hindolam), Pibare ramarasam (Yamankalyani), Bhajare Yadu Natham (Peelu) and so on.<br /><br /><span style="color:#ff0000;">Compositions :</span><br /><br /><span style="color:#3333ff;">manasa samchara re , brahmani manasa samchara re … (Hey mind, dwell on brahman … )</span><br /><br /><span style="color:#3333ff;">sarvam brahma-mayam, re re sarvam brahma-mayam … (Everything is brahman to the brim … )</span><br /><br /><span style="color:#3333ff;">khelati mama hrudaye rama … (Rama is sporting in my mind … )</span><br /><br /><span style="color:#3333ff;">piba re rama-rasam … (Drink the nectar of rAma, hey …. )</span><br /><br /><span style="color:#3333ff;">bruhi mukundeti … (Recite mukunda, speak of Him … )</span><br /><br /><span style="color:#3333ff;">cintha nasti kila … (they have no worries, …. )</span><br /><br />are all very famous and each one of them is a capsule of the bliss of brahman that Sadasiva had enough to spare for others.<br /><br />Appayya Dikshidar wrote siddhAnta-leSa-sangraha, which is the first reading for all students of advaita from his time It contains all the different dialectic thinking under one presentation in prose. But it is however a very elaborate book. Sadasiva Brahmendra epitomised this book in verse form in 212 verses and called it siddhAnta-kalpa-valli. This again became a little too much for readers. In the 20th century, Vasudeva brahmendra (who attained siddhi in 1931 A.D. and who was also a direct disciplic descendent of the famous Upanishad-brahma-yogin of the 18th century who wrote the commentaries for all the 108 upanishads) wrote a concise summary of the whole thing in prose, entitled SAstra-siddhanta-leSa-tAtparya-sangrahaH. Incidentally it is this Vasudeva-Brahmendra who was the guru of R. Visvanatha Sastri (1882-1956), the father and guru of this author. Humble prostrations to the Guru-paramparA.Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com3tag:blogger.com,1999:blog-3207072992206519076.post-53621571722989457322007-08-15T08:46:00.000-07:002007-08-15T09:03:59.022-07:00BHADRACHALA RAMADAS (1620 - 1688)<a href="http://bp2.blogger.com/_izbXUVoYKD4/RsMju5Ne9FI/AAAAAAAAABE/YhWL44IYR00/s1600-h/bha.jpg"><img id="BLOGGER_PHOTO_ID_5098958491651863634" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp2.blogger.com/_izbXUVoYKD4/RsMju5Ne9FI/AAAAAAAAABE/YhWL44IYR00/s320/bha.jpg" border="0" /></a><strong><span style="color:#ff0000;">Biography</span></strong><br /><p>Bhadrachala Ramadas - Popularly known as <span style="color:#ff6666;">Bhakta Ramadas</span>, he was born Gopanna to Linganna Mantri (a surname he kept as a result of one of his forebears being a minister at the court of a king) & Kadamba (sister of Madanna, a brahmin minister to TaniShah), in <span style="color:#ff6666;">1620</span> in Nelakondapalli, a small village in Khammam district, Andhra Pradesh. Since childhood, he imbibed his family's interest in spirituality and composed several keertanas on Raama. His devotion to Vaikunta Rama at the temple at Bhadrachalam, a small village in the middle of the jungle on the northern banks of the holy river Godhavary, earned him his name Bhadrachala Raamadaas. His guru was Raghunatha Bhattacharya.<br />During the reign of Abdul Hasan Tana Shah,(the nawab of the Qutub Shahi Dynasty at Golconda), Ramadas (Gopanna), thanks to his uncle Madanna, was appointed as a Tahsildar at Bhadrachalam, a pretty and picturesquely situated temple town on the Godavari river. Ramadas was always distracted and his intense love for Lord Rama compelled him to build a temple at Bhadrachalam. He collected money for the construction from the citizens, but didn't have enough. So he borrowed from the tax revenue of the nawab and gave his god a worthy abode, vowing to return the money. The nawab was furious and sentenced Ramadas to <span style="color:#ff6666;">12</span> years in prison. Raamadaas thus earned the name Bandekhana Raamadaas. Frustated at god's indifference to his pleadings, Ramadas composed some of the finest keertanas in his prison cell (reminding Raama of his services in Ishvaku Kula Tilaka).<br />It is said that <span style="color:#ff6666;">Raama & Lakshmana</span> in the guise of two youngsters paid up his dues and got his release papers. The golden coins paid by Raama are known as Ram Tanka coins .They can be seen even today. These coins have the Pattabhishekam scene on one side and the picture of another Rama Bhaktha, Hanuman, on the other side. The nawab was moved and recognized the greatness of Raamadaas and released him immediately and gave him land around Bhadraacalam to continue his dedicated service to Bhadrachala Raamamoorty. Raamadaas spent the rest of his life on these lands and composed further moving poems that were to inspire Tyagaraja: in ksheera saagara sayana in devagaandhaari, he says <span style="color:#3366ff;">"Dhirudau Ramadasuni Bandhamu dirchinadi Vinnanura Rama?"</span> (O Rama! I have heard how You obtained the release of the bold Ramadas from his prison life) ; in brindaavanalola in thodi, in kaligiyunde gada in keeravaani, in Emi dova balkuma in saaranga and in Prahlaada Bhakti Vijayam he says <span style="color:#3366ff;">"kaliyugamuna vara bhadra calamuna nelakonna raamacandruni pada bhaktula kella varudanandagi velasina shree raamadaasu vinutintu madin"</span> (I praise Sri Raamadaas, who shines in this world as the supreme devotee of Sri Raamacandra, who shines forth from his seat at Bhadraacalam in this kali Yuga). </p><br /><p><span style="color:#ff6666;">Background:</span> Named Gopanna by his parents Linganna and Kamalamba, he became known as Ramadas (Das meaning servant or slave), because of his deep devotion to Lord Rama. </p><br /><p><span style="color:#ff0000;">Region:</span> He belonged to Nalakondapalli, a small village Andhra Pradesh.</p><br /><p><span style="color:#ff0000;">Mudra:</span> Bhadraadivaasa, Ramadas </p><br /><p><span style="color:#ff0000;">Contribution:</span> He composed in the keertana form (the precursor to the Kriti form) and his songs contain multiple Charanams. Tyagaraja seems to have been a great admirer of Ramadasa’s devotion to Rama and praises him in a few of his compositions. His language is very simple and music very pleasing. His works include Manache Sloka, Dasabodha and Sundara Kandam of Ramayana.</p><br /><p><span style="color:#ff0000;">Theme:</span> The theme was predominantly devotion.</p><br /><p><span style="color:#ff0000;">Languages used:</span> Mostly Telugu and occasionally Sanskrit.</p><br /><p><span style="color:#ff0000;">Signature:</span> He used several mudras like Bhadrachala, Bhadradri or Bhadragiri.</p><br /><p><span style="color:#ff0000;">Popular Compositions:</span> Emayyarama (Kambhoji), Rama dayajudave (Dhanyasi), Paluke bangara mayena (Anandabhairavi), Nannubrovu (Kalyani) etc. Other compositions are positive invocations, favored by traveling minstrels, including the Tondaiman rulers of Pudukottai in Tamil Nadu, who popularized his songs. Among his other accomplishments is the creation of the whole Ramayana story in the form of a prose-poem, a Choornika. Ramadas described himself in this way in the last verse of his Dasarathi Satakam: "Allana Linga Mantri Suthudu(son), Atreya Gothrudu, Adi Sakha , Kancherla Kulothbhavudu, Gopakavindrudu." Bhadraacala Raamadaas lived for <span style="color:#ff6666;">68</span> years. </p><p><span style="color:#ff0000;">Compositions:</span> </p><p>alola tulasi - shankaraabharanam<br />adugu daati - mohanam<br />amma nannubrovave - saveri<br />antaa raamamayam - aananda bhairavi, kaamavardhani<br />bhajare shreeraamam - kalyani<br />caranamule nammiti - kapi<br />dasharatha raama - shankaraabharanam, kaapi<br />dheena dayaalo - bhairavi, kaapi<br />diname sudinamu - kaapi<br />E teeruga - naadanaamakriyaa<br />edanunnaado - naata kurinji<br />ee vela nannu - kamas<br />emayya raama - kaambhoji<br />ennagaanu raama bhajana - kamavardhani<br />ento mahaanubhaavudavu - shankaraabharanam<br />etiki dayaraaduraa - mukhaari<br />evaru dooshincinanemi - aananda bhairavi<br />garuDagamana raaraa - shurutti, kaamavardhani<br />hari hari raama raama - dhanyaasi<br />itaramu leruganayyaa - shankaraabharanam, naadanaamakriyaa<br />kaakutstha tilakudu - asaveri<br />kamalanayana vaasudeva - shenjurutti<br />mithilesha tanaya - kaambhoji<br />muchhataina naadavemiraa - huseni, naadanaamakriyaa<br />naa moraalakimpa - vasanta<br />narayana narayana - shankaraabharanam<br />nammina vaarini - dhanyaasi<br />nannu brovamani - kalyani<br />narahari deva - yaman kalyani<br />narulaara chedi - shankaraabharanam<br />O raama nee - yamunaa kalyani<br />O raghunandana - madyamavati<br />O raghuveera - kedara gowla<br />paahi maam raamaayante - yadukula kaambhoji<br />pahi raama prabho - madyamavati<br />paalayamaam shree - madyamaavati<br />paavana raama - dhanyaasi<br />paluke bangaara maayenaa - aananda bhairavi<br />raama daivashikhaamanee - thodi<br />raama raama bhadraacala - neelaambari, aahiri<br />raama raama raama - mukhaari<br />raama raama seetaaraama - aananda bhairavi<br />raama raama shreeraama - dhanyaasi<br />raama sudhaambudi - saveri, madyamavati<br />raamaa dayajoodave - dhanyaasi<br />raamaa naa manavi - aananda bhairavi, asaaveri<br />raamabhadra raaraa - shankaraabharanam<br />raamajogi mandu - vasanta, kamaas<br />raamakrsihna govinda - dhanyaasi<br />raaraa naavenna - kambhoji<br />rakshincamanu marokkeda - sahaanaa<br />seetaaraama seetaaraama - huseni<br />shree raama naamamu - naadanaamakriyaa<br />shree raamula - saveri<br />swaami nanu - shurutti<br />taraka mantramu - dhanyaasi<br />tagunayya dasharatha - shankaraabharanam<br /></p><br /><div></div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com0tag:blogger.com,1999:blog-3207072992206519076.post-33273367881213971772007-08-15T08:16:00.000-07:002007-08-15T08:42:59.330-07:00Sri Purandara Dasa (1494-1564)<a href="http://bp0.blogger.com/_izbXUVoYKD4/RsMe3ZNe9EI/AAAAAAAAAA8/-C8SNn64BaU/s1600-h/Purandar.jpg"><img id="BLOGGER_PHOTO_ID_5098953140122612802" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp0.blogger.com/_izbXUVoYKD4/RsMe3ZNe9EI/AAAAAAAAAA8/-C8SNn64BaU/s320/Purandar.jpg" border="0" /></a><br /><div><span style="color:#ff0000;">Purandara Dasa was the follower (dasa) of Lord Purandara Vittala [Lord Vishnu in one of his many avatars.] is known as the father (Pitamaha) of Carnatic music.</span></div><br /><div></div><br /><div><br /><strong><span style="color:#ff0000;">Biography</span></strong></div><br /><div><br />Purandara Dasa was born in <span style="color:#ff6666;">1484</span> in <span style="color:#ff6666;">Pandarpur</span>, an obscure village near Purandargarh near Poona. He was originally named Shreenivaasa (or Krishnappa) Naayaka. His father's name was Varada Naik. Purandara Daasa was considered an avatar of Sage Narada - when he was studying, he learned music as well. At 16 he married Lakshmibai, and four years later his parents died. Purandara Daasa had 4 sons and a daughter. He worked as a money lender, continued the family business, and became prosperous, but he was infamous as a miser. They said he earned much money and he lived only to earn it. An incident in his life, however, changed him and he gave away all his wealth. From then on, he composed and lived by the popular saying "we must swim across suffering, win victory over it." It is said that Lord Vishnu decided that it was time for Srinivasa Nayaka (Purandara Dasa) to give up his love of money and become a saint. So he came to him as a poor brahmin looking for money for his son's thread ceremony. Nayaka did not give him the money, but the brahmin visited his shop again and again, and after six months, Purandara Daasa gave him a collection of useless, worn-out coins to get rid of him. The brahmin went away unhappily, but knowing Purandara Dasa's wife was a kind woman, he went directly from Purandara Dasa's shop to his house. He told Saraswathi his story and how her husband had sent him away with nothing. Saraswathi wanted to help the poor brahmin, but felt helpless since she could not give anything without her husband's permission. When she explained her helplessness, the brahmin asked if she had something given by her parents (which, presumably, she could give without asking for her husband's permission). She agreed and gave him the diamond nose-stud that her parents had given her. The brahmin took the ornament straight to Purandara Daasa's shop. When Purandara Dasa became angry with the brahmin for coming back, despite his instructions to the contrary, the brahmin clarified that he was there not to beg, but to pledge an ornament and take a loan. Purandara Dasa was skeptical and asked the brahmin to show him the ornament. When he saw the ornament, he was confused because he immediately recognized it as the one belonging to his wife. When Purandara Dasa asked him about it, the brahmin told him that it was a gift from a benefactor. Purandara Dasa asked the brahmin to come the next day and locked the ornament away. When he saw his wife without her ornament he questioned her about it. She tried to stall him, but he insisted on seeing it immediately. He was angry because he thought she had given away a valuable ornament to a beggarly brahmin. Saraswathi knew that her husband would punish her if she told him the truth. So she decided to commit suicide by drinking poison. Just as she was about to drink the poison, she heard a metallic sound. Lo and behold, the ornament was right there in the cup. She could not believe her eyes. Her heart filled with gratitude, she bowed before the idol of Krishna and took the ornament to her husband. Purandara Dasa was astounded as it was the very same ornament that he had safely locked away in his shop. He quickly ran back to the shop to check. The box where he had safely locked away the ornament was empty! He was now completely and totally dumbfounded. He went back to his house, and pressed his wife to tell him the truth. She told him everything that had happened. After deep thought, this Shreenivaasa Naayaka came to the conclusion that the brahmin was none other than God Himself. He recalled all the incidents of the previous six months. He was disgusted with himself, and his miserliness. He felt that his wife had conducted herself far more decently and generously than himself. Since it was his love of money that had made him ill-treat the Lord, he gave away all of his wealth with the Lord's name on his lips and began to compose music.<br />Purandara Dasa had earned the name Navakoti Naaraayana, indicating his great riches. Then he began a new life with his family - his wife Saraswati, 4 sons (Varadappa, Gururaya, Abhinavappa and Gurmadhvapathi) and a daughter. Like him, his wife and children composed verses and songs. In course of time Purandaradasa came to Hampi and settled down with his wife and children. Every morning Purandaradasa went into the town wearing bells on his ankels and tulasi mala around his neck. He carried a tamboori in the hand and sang his Hari-keertanas sounding the tamboori with his fingers. He sang these songs to the accompaniment of tamboori and the bells tied to his ankles and went about the streets of the town. The people admired the listened to his songs. Purandaradasa accepted alms given to him during the wandering and led a life of renunication. He who had been called Navakoti Narayana now had willingly accepted the life of a saint and begged for his food. In 1525, Purandara Dasa became a disciple of the great Vyaasa Raayaa, who titled him "<span style="color:#ff6666;">Purandara Vitthala</span>," which became his signature, which he uses in all his compositions. Vyaasa Raaya praised him, saying "Among the devotees of Hari, Purandara Daasa is the greatest." Purandara Dasa expressed his gratitude by singing "My only refuge is the feet of Vyaasaraja. I was able to understand Purandara Vittala by his grace." The composer was also given the name Purandaropanishat and many other names. The title Vitthala refers to the Lord Vishnu, or Krishna. </div><br /><div><br />Purandara Dasa is said to have composed <span style="color:#ff6666;">475,000</span> songs in both Kannada and Sanskrit. PurandaradAsa adopted a simple, lucid Kannada style with telling phrases and similes. He sang many rare ragas with among the most beautiful lyrics. He identified <span style="color:#ff6666;">84</span> ragas, including ragas such as kalyani, varali, todi, bhairavi, and saaveri, which are popular in use today. Tyagaraja's praise in "Prahalada Bhakti Vijayam" is for him and in fact, some of his famous songs are patterned after those by Purandara Dasa, such as Nanupaalimpa, based on Daasa's Bide ninnayya pada. Purandara Dasa also used a variety of musical types: kritis, keertanas - devotional songs, padams - a dance form using hero-heroine, plus many more rare forms. The verses he sang were his own compositiions on a variety of themes. Some of them described Sri Krishna's adventures in this world. Some others sang about God's kindness to man. A few more verses were simple compositions expounding the philosophy contained in the Vedas, Upanishads and Bhagavadgita in simple words. In yet other verses Purandaradasa praises Lord Krishna affectionately. In some verses Purandaradasa has even made fun of the Lord. His songs which preached surrender to Vittala have an elusive fragrance, poetic fervour, extraordinary logic and cutting satire. His music was popularized by M.L. Vasantakumari.<br />The gods his songs adored: Sri Vittala (Krishna) of Pandarapura is associated with Bhakthi and Bhajan movement since the time immemorial. Sri Vittala is still being adorned by large number of devotees barring caste, religion, sex etc. Sri Purandara Dasa has continued this tradition by keeping his ankita or mudra as Purandara Vittala, and his songs praise this Vittala, meaning Krishna or Vishnu. His songs also praised Ganesha, Saraswathi and other gods and goddesses, but the themes always returned to Vittala. </div><br /><div><br /><span style="color:#ff0000;">Musical Background:</span> Although Purandaradasa did not have any musical tutelage in his early years, by the grace of God, he started singing and composing songs. He is acclaimed as the Sangita Pitamaha (Great Father) of Carnatic music, owing to his unparalleled contributions. </div><br /><div><br /><span style="color:#ff0000;">Region:</span> Purandaragada, Karnataka</div><br /><div><br /><span style="color:#ff0000;">Contribution:</span> He formulated the basic lessons of Carnatic music by structuring Swaravalis (graded exercises), Alankaras (exercises based on the Sapta talas), apart from composing Gitas. He introduced Mayamalavagowla as the first scale to be learnt by a beginner. However, the original tunes of his compositions are unavailable. He was the one of the most prolific composers of Carnatic music. Though he wanted to compose <span style="color:#ff0000;">5,00,000</span> songs in his lifetime, he could compose only <span style="color:#ff0000;">4,75,000</span>. This has been referred to in one of his own compositions. </div><br /><div></div><br /><div><span style="color:#ff0000;">The poet and the composer</span></div><br /><div><span style="color:#ff0000;"></span><br />Purandara Dasa's songs are filled with rhyme and meaning. One song talks about how it is human nature to have desire for material objects, only for God to dispose of them, that the human has to suffer without them (kudure andhana aane bayasodhu nara chiththa paadhachaari aagodhu hari chiththavayya - to ride on a horse chariot or elephant is human desire, but to be a pedestrian is what God wills).<br />Popular Compositions: Jagadoddharana (Kapi), Jaya Jaya (Nata), Innudaya barade (Kalyanavasantam), Venkatachala nilayam (Sindhubhairavi), and so on. </div><br /><div><br /><span style="color:#ff0000;">Signature:</span> The mudra he used was Purandara Vittala</div><br /><div><br /><span style="color:#ff0000;">Languages used:</span> Kannada and Sanskrit</div><br /><div><br /><span style="color:#ff0000;">Theme:</span> His devotional songs called Devarnamas, contain the essence of the Puranas and Upanishads. His songs have simple language, lofty ideas and sublime thoughts. His favourite deity seems to have been Krishna, also known as Panduranga. However, he has sung in praise of other Gods, as well.<br />Purandara Dasa was the first of the Haridasas, or "servants of Sri Hari" also known as Vishnu or Krishna. All the Haridasas composed in KannaDa, a language used primarily in Karnataka, but Purandara Daasa established the precedent of composing in the vernacular or common tongue. All Haridasas were servants of God and their songs included the following messages: </div><br /><div><br />God is easily approachable by all. </div><br /><div></div><br /><div>God is to be praised and constantly remembered as our benefactor. </div><br /><div></div><br /><div>Realising the true nature of God's benevolence towards us and offering even simple worship within the means available to one is more acceptable to Him than ritualistic or pompous ornamentation without mental participation.<br /></div><br /><div>Some of Purandara Dasa's lyrics are really memorable. For example, he writes, Kendake orale muttuvudunte?... Do ants cluster around a hot coal? Another line goes, Hasida bekku hatthiya tindanthe.. Describing a hungry cat eating cotton. These lyrics make it clear that Daasa was a poet as well as a scholar of musical form. </div><br /><div><br /><span style="color:#ff0000;">His death:</span> Scholars think that Purandara lived for about <span style="color:#ff6666;">80</span> years (<span style="color:#ff6666;">until</span> <span style="color:#ff6666;">1564</span>). On the basis of the verse in the name of <span style="color:#ff6666;">Madvapathi </span>his son it is held that Purandaradasa must have passed away a year before the fall of Vijaynagar. Taking it as authentic, his death anniversary is celebrated on the New Moon Day, in the second fortnight of Pushya. </div><br /><div><br /><span style="color:#ff0000;">Compositions:</span></div><br /><div><br />aanalekara (geetam) - sudda saaveri<br />amma nimma manegalalli - sowraashtram<br />aparaadi naanalla - revati<br />bandadella barali - kaapi<br />bhaagyada lakshmi baarammaa - shree, madyamaavati<br />candrachuda - raagamaalika<br />dayamaado dayamaado - kalyani<br />deva banda - shankaraabharanam<br />devaki nandana - raagamaalika<br />dharma shravanavetake - durga<br />dharmave jayavemba - shenjurutti<br />gajavadanaa beduvE - hamsadwani<br />govindaa ninna - jana sammodhini<br />hari naaraayana - revati<br />hari smarane maado - yamunaa kalyani<br />jagadoddhaaranaa - dhanakaapi, kaapi<br />jaya jaya jaya jaanakikaantaa - naata<br />kandenaa govindanaa - candrakowns<br />kodu bega divyamati - saraswati, vasantaa<br />ksheeraabdi kannige - raagamaalika<br />mareya beda manave - kamaas<br />maaraayanaa - sudda dhanyaasi<br />nambi kettavaru illavo - kalyani<br />neenyaako ninna - raagamaalika<br />ninnane nambi - bhairavi<br />ninne nodi - thodi<br />odi baarayya - bhairavi<br />raama mantrava - jonpuri<br />raama raama raama raama - raagamaalika<br />sakala graha bala - athana<br />sanna hejegalittu - valachi<br />sharanu siddhi vinaayaka - sowraashtram<br />sharanu sakaloddhaara - naata<br />simharoopanaada - kedara gowla<br />shreenivaasa neene - aananda bhairavi<br />taamboolava kollu - reeti gowla<br />taaraka bindige - sowraashTram, tilang<br />tamboori meetidava - sindu bhairavi<br />tirupati venkataramana -kharaharapriyaa<br />venkatachalanilayam - sindu bhairavi<br />venkataramanane baaro - shankaraabharanam<br />yaadava nee baa - karnataka devagandhari<br />yaare rangana - hindolam </div>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com10tag:blogger.com,1999:blog-3207072992206519076.post-4832234358463636652007-08-12T08:46:00.000-07:002007-08-12T09:04:29.566-07:00Shyama Shastri (1762-1827) - Biography and Complete Works<a href="http://bp3.blogger.com/_izbXUVoYKD4/Rr8sKJNe9DI/AAAAAAAAAA0/VY8wHRHsahU/s1600-h/ss.jpg"><img id="BLOGGER_PHOTO_ID_5097841855989478450" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_izbXUVoYKD4/Rr8sKJNe9DI/AAAAAAAAAA0/VY8wHRHsahU/s320/ss.jpg" border="0" /></a><br /><br /><br /><div align="center"><strong><span style="color:#ff0000;">BIOGRAPHY</span></strong></div><div align="center"><strong><span style="color:#ff0000;"></span></strong><br /></div>Shyama Shastri was the oldest of the Trinity of Carnatic music. He was a contemporary of the other two, Tyagaraja and Muthuswami Dikshitar, and was a personal friend of the former. He was born Venkatakrishna, in Tiruvarur (of Thanjavur district in Tamil Nadu) on April 26, 1762, into the scholarly and priestly Tamil Brahmin family of Viswanatha Iyer; a family not particularly interested in music. Though Shyama Shastri attained scholarship in Telugu and Sanskrit at a young age, he got no further than the elementary stages in music education, in spite of his melodious voice. When he was eighteen years old, his family moved to Tanjore.<br />Around then, his family got a chance to host a sanyasi (monk), sangitaswami, a master of dance and music, who was spending some four months in Tanjore. The sanyasi was quick to discover Shyama Shastri's keen intellect, melodious voice and musical talent and foresaw greatness in him. He obtained the father's consent to tutor the son in music and taught Shyama Shastri all aspects of raga, tala and swara prasthara-s. The teacher found that the student could absorb even the intricate details very quickly, all in a matter of four months or less. Sangitaswami presented Shyama Shastri with a few rare treatises on music and certified that the student had gained full knowledge on the theoretical aspects of music. He advised his student to seek the friendship of and listen to the music (but not learn anything from) one Pachimiriam Adiyappayya Ayya, a composer of the famous bhairavi ata tala varnam, viriboni, and a court musician in Tanjore. Shyama Shastri duly did as he was advised.<br />Over the years, Shyama Shastri became a well-known and respected musician, scholar and a composer. He was quite admired and respected by Tyagaraja and it appears that the two of them often held scholarly and lengthy discussions on their latest compositions. Shyama Shastri, like his father was the archaka (priest) in the Bangaru Kamakshi Temple in Tanjore. He was a very pious and genuine devotee of Goddess Kamakshi. He is believed to have lost consciousness of the outside world on several occasions as he prayed to the Goddess. On such occasions, he would sing his kriti-s extemporaneously. His father had the patronage of the Tanjore king. Hence, the family was financially comfortable.<br />Shyama Shastri had two sons, Panju Shastri and Subbaraya Shastri. The former became a priest and the latter was a versatile musician (and a disciple of Tyagaraja). Through Panju Shastri, the family tree grew and produced quite a few scholars. Shyama Shastri's great grandson was alive till the age of 94 and passed away only in 1950. Hence, many incidents of Shyama Shastri's life are known. He was reportedly a tall and a rather stout person with a fondness for betel leaves! Shyama Shastri, like Tyagaraja and Dikshitar, was well-versed in astrology. Like his great contemporaries, he too correctly predicted the time of his passing. He passed away on February 6, 1827, six days after, his devoted wife passed away.<br />Although he did not compose as many kriti-s as his two prolific contemporaries, Shyama Shastri's compositions are equally well known. It is said that he has composed about three hundred pieces in all. He did not have too many disciples to propagate his compositions, nor was the printing press an easy convenience during his time! More importantly, the scholarly nature of his compositions was not appealing to the layperson; they needed to be studied to be savoured. He composed in Telugu, Sanskrit and Tamil and mostly on Goddess Devi. He has composed kriti-s in, varnam-s and swarajati-s with the ankita/mudra (signature) 'Shyama Krishna'. He is said to be the architect of the swarajati musical form. His set of three famous swarajati-s is referred to as ratna trayam. These are in Bhairavi, Yadukulakambodhi and Todi.<br />Shyama Shastri's compositionsare usually in common raga-s, except for a few in raga-s such as Manji, Chintamani, Kalagada and Karnataka Kapi. His favourite raga-s seem to have been Saveri and Anandabhairavi, judging from the number of kriti-s composed in these raga-s. Anandabhairavi, an old raga that was frequently used in folk music, seemed to acquire a new stature after he composed masterpieces such as mariveregati, himachala tanaya, o jagadamba, pahi sri giriraja and even a couple of varnam-s in it. His rare originality was in swara sahitya compositions and the use of swarakshara. In other words, swara and sahitya having identical sounding syllables such as 'padasarara' corresponding to the swara-s pa da sa in the kriti, devi ni in Kambodhi. Though most of his compositions are on Goddess Kamakshi, he is said to have composed his navaratnamalika on Goddess Meenakshi of Madurai at the request of a person unknown to him. These include kriti-s such as saroja dala netri in Shankarabharanam, mayamma in Ahiri, meena lochana brova in Dhanyasi , etc. His Krithis usually have the pen-name ShyamaKrishna in the charanam of the song.<br />Shyama Shastri would perhaps stand out most for the "rhythmic beauties" employed in his kriti-s, such as the use of five-syllable words like sarasamukhi, varamosagu, kamalamukhi, etc. These correspond to the rhythmic phrase "ta dhin gi na thom". His kriti-s feature the abundant use of the misra chapu tala (4+3). He also features dual rhythms as in sankari samkuru in raga saveri, with the inherent rhythm of rupakam and a suggestive rhythm of adi tala. "Shyama Shastri had a rhythmical frame of mind and he was always swimming in the ethereal regions of rhythm and tala prasthara.<br /><br /><span style="color:#ff0000;">Musical Background</span>: Syama Sastri did not come from a family of musicians, but was taught some music by his uncle. Despite being groomed to be a priest, he had plenty of interest and talent in music. He was taught by an ascetic, Sangeeta Swami, about the intricacies of raga and tala.<br /><br /><span style="color:#ff0000;">Region</span>: Syama Sastri was born in Tiruvarur, Tanjavur district, but lived in Tanjavur. He did not travel much.<br /><br /><span style="color:#ff0000;"><strong>Contributions</strong></span><br /><br /><span style="color:#ff6666;">Rhythmic aspects</span>: Some of Syama Sastri’s songs are very rich in rhythmic conception. Though he composed in talas like<br />Adi, Triputa, Roopaka, etc., he specialised in Misra Chapu, where he not only used the normal pattern (3+4), but also<br />the reverse (4+3), called the Viloma Chapu. His use of different gatis like Tisra and Misra in his compositions show his<br />prowess in Laya. There is an interesting incident, which is a testimony to his strength in Laya. He was once challenged by Bobbili<br />Kesavayya to sing a Pallavi in Simhanandana tala (the longest tala with 128 beats per cycle). To everyone's amazement,<br />he not only sang it but also composed a new Pallavi in Sarabhanandana tala (79 beats per cycle).<br /><br /><span style="color:#ff6666;">Theme</span>: His compositions were totally devotional in nature, mostly in praise of Goddess Kamakshi of Kanchipuram.<br /><br /><span style="color:#ff6666;">Languages used</span>: Predominantly Telugu; a few in Sanskrit and Tamil.<br /><br /><span style="color:#ff6666;">Signature</span>: Syama Sastri used the mudra, Syamakrishna.<br /><br /><span style="color:#ff6666;">Popular kritis</span>: Kamakshi (Bhairavi), Himadrisute (Kalyani), Sankari Sankuru (Saveri) etc.<br /><br /><span style="color:#ff6666;">Compositions</span>: Shyama Shastri is credited with about 300 songs, of which only about 60 - 70 are available today. He<br />composed a group of nine kritis known as Navaratnamalika (garland of nine gems) in praise of Goddess Meenakshi of<br />Madurai temple. He has composed three peerless Swarajatis, collectively known as the Ratnatrayam. He has also<br />composed a few Varnams, not to mention other compositions in rare ragas, like Chintamani (his own discovery),<br />Kalagada etc. His favourite raga seems to be Anandabhairavi, in which he has excelled himself.<br /><br /><span style="color:#ff0000;"><strong>Compositions Of Shyama Shastri (1762-1827)</strong></span><br /><span style="color:#ff0000;"></span><br />These compositions are ordered by Ragam classified by mela. These are fllowed by the song title, specific janya ragam,<br />and the talam. If you are looking for a particular song in this massive list, I can offer you two suggestions: 1)Hit<br />CTRL+F or go to the edit menu and select find on your browser and enter the contexts you would like to search for<br /><br /><span style="color:#ff0000;">Melakartas</span><br /><span style="color:#ff0000;"></span><br />8. HanumatodiEmani Migula - Todi - Adi Karunanidhi Ilalo - Todi - Rupakam Ninne Namminanu - Todi - Mishra Capu Rave Himagiri Kumari (Svarajati) - Todi - Adi Mina Locana Brova - Dhanyasi - Mishra Capu Enneramum - Punnagavarali - Adi Kanaka Shaila Viharini - Punnagavarali - Adi Brova Samayamu - Punnagavarali - Adi<br /><br />13. GayakapriyaParvati Ninnu Nera - Kalgada - Tishra Gati Adi<br /><br />14. VakulabharanamMayammayani Ne - Ahiri - Adi<br /><br />15. MayamalavagaulaTarunam Idamma - Gaulipantu - Adi Nannu Brovarada - Gaulipantu - Mishra Capu Purahara Jaye - Gaulipantu - Mishra Capu Dayajuda - Jaganmohini - Mishra Capu Kamaksi Karunakataksi - Pharaj - Triputa Triloka Mata Nannu - Pharaj - Mishra Capu Santatam Ennai Raksippai (Gitam) - Pharaj - Adi Nannu Brova - Vasanta - Eka Janani Natajana - Saveri - Adi Durusuga Krpa Juci - Saveri - Adi Sarasaksi (Gitam) - Saveri - Triputa Shahnkari Shamkuru Candramukhi - Saveri - Tishra Gati Adi Shri Patimukha Viracita - Saveri - Adi Rave Mayamma Bahngaru - Saveri - Adi Sarva Sakhi (Gitam) - Saveri - Triputa Nilayataksi - Saveri-Mayamalavagaula-Pharaj - Triputa<br /><br />17. SuryakantamNannu Brovu Lalita - Lalita - Mishra (Viloma) Capu Namanavini (Varnam) - Saurastram - Caturashra Ata<br /><br />20. NathabhairaviAdinamunihnci - Anandabhairavi - Triputa O Jagadamba - Anandabhairavi - Adi Pahi Shri Girirajasute - Anandabhairavi - Rupakam Marivere Gati - Anandabhairavi - Triputa Mahilo Amba - Anandabhairavi - Adi Samini Rammanave (Varnam) - Anandabhairavi - Ata Himacala Tanayu - Anandabhairavi - Viloma Capu Bahngaru Kamaksi - Anandabhairavi - Adi Ninnu Namminanu (Pada Varnam) - Anandabhairavi - Adi Sara Saksi I Vela - Anandabhairavi - Ata Kamaksi Amba (Svarajati) - Bhairavi - Mishra Capu Parvati Janani (Gitam) - Bhairavi - Khanda Matya Sari Evaramma - Bhairavi - Jhampa Vanita Ninne (Tana Varnam) - Bhairavi - Adi Brovavamma - Mahnji - Mishra Capu<br /><br />21. KiravaniBrovumu Manine - Kiravani - Adi<br /><br />22. KharaharapriyaAkhilandeshvari - Karnataka Kapi - Adi Kamaksi Lokasaksi - Madhyamavati - Triputa Palihncu Kamaksi Pavani - Madhyamavati - Adi Brhannayaki - Madhyamavati - Tishra Matya Palimpavamma Parama Pavani - Mukhari - Adi Ninnu Vina Mari Galada - Ritigaula - Rupakam (Tishra Nadai Adi) Karunajuda Ninnu - Shri - Mishra Capu<br /><br />28. HarikambhojiDevi Ni Pada Sarasamule - Kambhoji - Adi Ninne Nammiti - Kedaragaula - Adi Parakela Nannu - Kedaragaula - Adi Mayamma Nannu Brova - Natakurahnji - Adi Kamaksi Nipadayugamu (Svarajati) - Yadukulakambhoji - Mishra Capu<br /><br />29. DhirashahnkarabharanamDevi Mina Netri - Shahnkarabharanam - Adi Saroja Dala Netri - Shahnkarabharanam - Adi Nannu Karunihnci Brovu - Shahnkarabharanam - Rupakam Palayashumam - Arabhi - Triputa Nannu Brovarada - Janarahnjani - Triputa Brovavamma - Nilambari - Triputa Ninnu Vina - Bilahari - Jhampa Kamaksi Natovada - Begada - Adi Dayanidhe Mamava (Varnam) - Begada - Adi Sami Ninne - Begada - Adi<br /><br />36. CalanataPahi Mam Shri Rajarajeshvari - Nata - Rupakam<br /><br />39. JhalavaraliKarunajudavamma - Varali - Mishra Capu Kamaksi Bahngaru - Varali - Triputa<br /><br />53. GamanashramaEnneramum - Purvikalyani - Triputa Ninnuvinaga - Purvikalyani - Deshadi, Mishra Nadai<br /><br />56. ShanmukhapriyaDevi Brova Samayamide - Cintamani - Adi<br /><br />65. MecakalyaniTalli Ninnu Nera - Kalyani - Mishra Capu Devi Nannu Brova - Kalyani - Jhampa Nive Gatiyani - Kalyani - Tishra Matya Paramukhamenamma - Kalyani - Triputa Birana Varalicci - Kalyani - Tishra Nadai Adi Rave Parvata Rajakumari - Kalyani - Jhampa Shahnkari Shahnkari - Kalyani - Ata Shri Kamaksi - Kalyani - Adi Himadri Sute Pahimam - Kalyani - Tishra Nadai AdiKarthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com4tag:blogger.com,1999:blog-3207072992206519076.post-68099262234440750962007-08-12T08:18:00.000-07:002007-08-12T08:38:00.697-07:00MUTHUSWAMI DIKSHITAR (1775 - 1835) - BIOGRAPHY AND COMPLETE WORKS<a href="http://bp1.blogger.com/_izbXUVoYKD4/Rr8k8pNe9CI/AAAAAAAAAAs/M3ju00hf13k/s1600-h/dikshitar.jpg"><img id="BLOGGER_PHOTO_ID_5097833927479850018" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_izbXUVoYKD4/Rr8k8pNe9CI/AAAAAAAAAAs/M3ju00hf13k/s400/dikshitar.jpg" border="0" /></a><br /><br /><span style="font-size:100%;"> </span><br /><span style="font-size:100%;"><span style="font-size:130%;"><strong><span style="font-family:times new roman;color:#ff0000;">Muttusvami Dikshitar</span></strong> (<span style="color:#3333ff;">1775-1835</span>)</span> - The youngest of the Carnatic Musical Trinity was born in 1776, brought up with 2 brothers and a sister with great care and acquiring proficiency in both music and Sanskrit. His family moved to Manali, where he became a disciple of Cidambaranaata Yogi and went to Varanaasi. For 5 years he stayed there and learned Hindustani music, especially the Dhrupad style of music. After his guru died, he returned to the south and came to the holy shrine of Tiruttani to pray and meditate before Lord Subramanya. One day the Lord appeared to him, asked him to open his mouth, placed a piece of sugar candy in his mouth, and disappeared. After this, Dikshitar began composing beautiful kritis. The first piece he sang was "ShreenataDi guruguhO jayati jayati." Then he went to Kaanceepuram and sang songs in praise of Ekaambaratanaata and Kaamaakshi. He visited various temples to compose songs, from the TaamrapaaNi River (Shree kaantimateem) and Rameshwaram (Raamanaatham bhajEham) to Kaasi (Kaasi visaalakshi). Then he returned to Tiruvaaroor, where he gathered disciples and taught them his composition. His brothers became proficient at rendering his compositions as well and went to Madurai to teach these songs. Once, because of poverty, Dikshitar did not have the means to make his offerings to the deity. His disciple, the famous dancer Kamalam, offered to pledge her jewels and raise the money. He refused and composed "Tyaagaraajam bhajarE," trusting in God. Soon 2 cartloads of food and articles reached his house as a gift from the manager of the choultry. After the death of his brother Cinnaswaami, his brother Baalaswaami left and was made a Samastaana Vidwaan at ETTayapuram in 1824. Dikshitar left to meet his suriving brother, and on the way fervently sang "Aanandaamruta" in amritavarshini, seeing the dry condition of the land. Apparently, there was a heavy downpour soon afterward. Dikshitar met his brother and attended his marriage as well. Then he returned to Tiuvaaroor. His group kritis include the navagraha kritis in praise of the 7 principal planets and the Kamalaambaa navaavarana kritis - 9 songs in praise of the deity of Tiruvaaroor. He also composed small kritis with SamaashTi caraNams (which include both Anupallavi and CaraNam). 461 songs in 191 raagams are available today. He used characteristic phrases of raagam and was a master of rhyme. He often chose a slow tempo. In 1835 he went to ETTaiyapuram to attend a marriage in the royal family and stayed there. "Meenaakshi mE mudam" is supposed to be one of his last compositions, created in Madurai on his way to ETTaiyapuram, where he passed away on October 21, 1835</span><br /><span style="font-size:100%;"><br /><span style="color:#ff0000;">Early years</span><br /><br />Consistent with the education of Brahmin boys of that time, Muttuswami learnt the Vedas, Sanskrit and other important religious texts. He also obtained his preliminary musical education from his father. While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi, to gain musical and philosophical knowledgde. Over the course of this pilgrimage, he visited many places in North India, and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambarantha Yogi, presented him with a unique Vina, and passed away shortly thereafter. The Samadhi of Chidambaranatha Yogi can still be seen in the Hanuman Ghat area in Varanasi.<br />Muttuswami Dikshitar attained mastery over the Vina instrument, and the influence of Vina playing is evident in his compositions. He composed his first song "Sri nathadhi guruguho" in the Raga Maya-malava-gowla, in the temple of Tiruttani (near present day Chennai). The song was in praise of his Guru, but also in praise of the Lord Subramanya, who is identified with the concept of a "teacher" or guru in the Hindu theology. <br /><br /><span style="color:#ff0000;">Contribution </span><br /><br />Muthuswami Dikshitar, it is said, composed his first kriti after having a vision of Lord Subramanya, his favourite deity. He composed the Vara kritis, which are seven in number, one for each day of the week. These are set to the Sooladi Sapta talas. Drawing inspiration from Oothukadu Venkata Kavi, he also composed the Navavarana kritis in praise of Devi (Kamalamba), one for each of the nine days of the Navaratri festival. Being a widely travelled man, he composed several songs in many Hindustani ragas. His songs are normally slow in tempo and bring out the depth and beauty of the raga using ornamentation (gamakas). He also used what is known as Madhyamakala (medium tempo) Sahitya very effectively in his compositions.<br /><br /><span style="color:#ff0000;">Theme</span><br /><br />That he was a much-travelled man is reflected in his compositions. Most of them contain descriptions about famous temples and their chief deities. There are also several others based on Vedas, Upanishads, Tantra, etc.<br /><br /><span style="color:#ff0000;">Languages used</span><br />Mostly Sanskrit and a few in Telugu. He has also composed Manipravala kritis, which is a mixture of two or more languages.<br /><br /><span style="color:#ff0000;">Signature</span>: His signature or mudra is Guruguha, which is another name for Lord Subramanya.<br /><br /><span style="color:#ff0000;">Mudra</span>: Guruguha<br /><br /><span style="color:#ff0000;">Popular kritis</span>: Vatapi Ganapatim (Hamsadhwani), Annapoorne (Sama), Kanjadalayatakshi (Kamalamanohari) and so on.<br /><br /><strong><span style="color:#ff0000;">Compositions Of Muthuswamy Dikshitar (1776-1827)</span></strong><br /><br />These compositions are ordered by Ragam classified by mela. These are followed by the song title, specific janya ragam, and the talam. If you are looking for a particular song in this massive list, I can offer you two suggestions: 1)Hit CTRL+F or go to the edit menu and select find on your browser and enter the contexts you would like to search for.<br /><br /><span style="color:#ff0000;">Melakartas:</span><br /><span style="color:#ff0000;"></span><br />1. Kanakambari - Kanakahngi<br /><br />Kanakambari Karunyamrta Lahari - Kanakambari - Rupakam Akhilandeshvaro Raksatu - Shuddha Saveri - Rupakam<br />Ekamreshanayike - Shuddha Saveri - Adi<br />Muraharena Mukundea - Shuddhamukhari - Rupakam<br /><br />2. Phenadyuti - Ratnangi<br /><br />Shri Daksinamurtimisham - Phenadyuti - Adi<br /><br />3. Ganasamavarali - Ganamurti<br /><br />Brhadishvaro Raksatumam - Ganasamavarali - Rupakam Parameshvarena - Purvavarali - Adi<br />Matsyavatara Mamava - Bhinnapahngamam -Adi<br /><br />4. Bhanumati - Vanaspati<br /><br />Guruguhasvamini - Bhanumati - Khanda Triputa Talam<br />Brhadamba Madamba - Bhanumati - Adi<br /><br />5. Manorahnjani - Manavati<br />Balambike Pahi - Manorahnjani - Matyam<br /><br />6. Tanukirti - Tanarupi Cidambara Natarajamurtim - Tanukirti - Mishra Capu<br /><br />7. Senagrani - Senavati<br />Jhnanambike Palaya Mam - Senagrani - Tishra Ekam<br /><br />8. Janatodi - HanumatodiTodi - Rupakam Todi - Rupakam Mahaganapatim Vande - Todi - Rupakam Palaya Mam Brhadishvari - Todi - Rupakam Ramacandraya - Todi - Mishra Capu Vedaranyeshvaraya - Todi - Adi Shri Krsnam Bhaja Manasa - Todi - Adi Shri Subrahmanyo Mam Raksatu - Todi - Adi Kumarasvaminam - Asaveri - Adi Candram Bhaja Manasa - Asaveri - Caturashra Matyam Ganalole - Nagavarali - Mishra Capu Ehi Annapurne- Punnagavarali - Adi Kamalambikayastava Bhaktoham - Punnagavarali - Rupakam<br /><br />9. Dhunibhinnasadjam - DhenukaCidambareshvam - Dhunibhinnasadjam - Adi Shri Guruguhamurte - Udayaravicandrika - Rupakam Sadacaleshvaram Bhavaye - Bhupalam - Adi Mohananataragapriye Lalite - Mohananata - Adi<br /><br />10. Natabharanam - NatakapriyaVishvanatham Bhajeham - Natabharanam - Adi<br /><br />11. Kokilaravam - KokilapriyaKodandaramam - Kokilaravam - Adi<br /><br />12. RupavatiShri Krsnam Bhajare - Rupavati - Tishra Ekam<br /><br />13. Geyahejjajji - GayakapriyaRamacandrabhaktam - Geyahejjajji - Adi<br /><br />14. Vativasantabhairavi - VakulabharanamPrasannavehnkatesham - Vativasantabhairavi - Triputa Brhadishvarim Bhajare - Lalitapahncamam - Adi<br /><br />15. MayamalavagaulaNilotpalambikayastava - Mayamalavagaula - Mishra Capu Shri Nathadi Guruguho Jayati - Mayamalavagaula - Adi Shri Ganeshatparam - Ardradeshi - Jhampa Agastishvaram - Lalita - Mishra Capu Hiranmayim Laksmim - Lalita - Rupakam Renukadevi - Kannada Bahngala - Mishra Jhampa Gunijanadi - Gujjari - Adi Rajarajendra - Gundakriya - Triputa Tyagaraja Palaya - Gaula - Adi Nilotpalambikayah Param - Gaula - Rupakam Mahisasuramardini - Gaula - Khanda Capu Shri Mahaganapati- Gaula - Mishra Capu Krsnananda Mukundamurare - Gaulipantu - Mishra Capu Gauri Girirajakumari - Gauri - Rupakam Shri Minaksi Gauri - Gauri - Rupakam Nilotpalambike - Chayagaula - Rupakam Sarasvatya Bhagavatya Samraksitoham - Chayagaula - Mishra Capu Namaste Paradevate - Devarahnji - Tishra Ekam Sundaramurtim Ashrayami - Takka - Rupakam Nilakanthaya - Nadanamakriya - Mishra Capu Pratyahngirabhagavatim - Nadanamakriya - Mishra Capu Shri Guruna Palitosmi- Padi - Rupakam Cintaye Mahalihnga - Pharaj - Adi Madhuramba Jayati - Pharaj - Mishra Capu Mahalihngeshvaram - Pharaj - Adi Shri Shukrabhagavantam- Pharaj - Khanda Ata Sadhujanacitta Sarasijodayam - Purnapahncamam - Triputa Shri Guruguhasya Dasoham - Purvi - Mishra Capu Shri Parvatiparameshvarau Vande- Bauli - Adi Shri Bhargavi - Mahngalakaishiki - Mishra Capu Pahncamatahngamukha Ganapatina - Malahari - Rupakam Vighineshvaram - Malahari - Adi Vasudevamupasmahe - Malavapahncamam - Rupakam Maruvakadi Malini Sulini - Maruva - Adi Mahngaladevate Paradevate - Margadeshi - Adi Vehnkateshvara Yadava Bhupatim - Megharahnjani - Rupakam Govindarajena Raksitoham - Mecabauli - Rupakam Rama Rama - Ramakali - Rupakam Sharavanabhava - Revagupti - Rupakam Sadavinathasadare - Revagupti - Rupakam Nilakantha - Vasanta - Rupakam Brhadambikayai - Vasanta - Mishra Capu Marakatalihngam - Vasanta - Adi Ramacandram Bhavayami - Vasanta - Rupakam Hariharaputram- Vasanta - Khanda Ekam Avyajakarunakataksi - Salahnganata - Tishra Triputa Karikalabhamukham- Saveri - Rupakam Shri Rajagopala - Saveri - Adi Gokarneshvara - Saurastram - Adi Varalaksmim - Saurastram - Adi Suryamurte Namostute- Saurastram - Caturashra Dhruvam<br /><br />16. Toyavegavahini - CakravakamKailasanatham - Vegavahini - Adi Gajananayutam - Vegavahini - Caturashra Ekam Varahim Vaisnavim - Vegavahini - Mishra Capu Vinayaka Vihna - Vegavahini - Rupakam Vinapustakadharinim - Vegavahini - Khanda Ekam<br /><br />17. Chayavati - SuryakantamChayavatim Anandavallim - Chayavati - Adi<br /><br />18. Jayashuddhamalavi - HatakambariNaraharimashrayami - Jayashuddhamalavi - Triputa<br /><br />19. Jhahnkarabhramari - JhahnkaradhvaniHimacalakumarim Bhaje - Jhahnkarabhramari - Rupakam<br /><br />20. Nariritigaula - NatabhairaviNilotpalambam- Nariritigaula - Mishra Capu Shri Nilotpalanayike - Nariritigaula - Rupakam Abhayamba Nayaka Harisayaka - Anandabhairavi - Adi Anandeshvarena - Anandabhairavi - Mishra Capu Kamalamba Samraksatu Mam- Anandabhairavi - Mishra Capu Tyagarajayogavaibhavam - Anandabhairavi - Rupakam Dandayudhapanim - Anandabhairavi - Rupakam Paradevate - Anandabhairavi - Adi Manasa Guruguha - Anandabhairavi - Rupakam Sami Ni - Anandabhairavi - Adi Vinabheri- Abheri - Adi Kusumakara - Ahiri - Adi Shri Kamalamba Jayati- Ahiri - Rupakam Balakrsnam - Gopikavasantam - Adi Shri Kamalambike Avava - Ghanta - Adi Shri Mahngalambikam - Ghanta - Jhampa Paradevata Brhatkucamba - Dhanyashi - Adi Mahngaladevataya - Dhanyashi - Rupakam Mayuranatham - Dhanyashi - Mishra Capu Ramacandradanyam - Dhanyashi - Khanda Capu Vedapurishvaram - Dhanyashi - Adi Shri Rahnganathaya - Dhanyashi - Rupakam Navaratna Vilasa Vaibhava - Navaratnavilasam - Adi Nagagandhari - Nagagandhari - Adi Sarasijanabha Sodari- Nagagandhari - Rupakam Aryam Abhayambam Bhajare - Bhairavi - Khanda Jati Ata Cintaya Makanda - Bhairavi - Rupakam Trilocanamohinim - Bhairavi - Adi Devi Jagadishvari - Bhairavi - Rupakam Balagopala - Bhairavi - Adi Lalitambikayai - Bhairavi - Mishra Capu Shri Kamalambikayah Param Nahi Re- Bhairavi - Mishra Jhampa Ramacandrena - Mahnji - Rupakam Shri Sarasvati Hite - Mahnji - Adi Candrasekharam- Margahindolam - Adi Margahindolaraga - Margahindolam - Adi Ekamranathaya - Mukhari - Rupakam Govindarajam - Mukhari - Mishra Capu Pahi Mam Ratnacalanayaka - Mukhari - Adi Govarddhana Girisham - Hindolam - Rupakam Nirajaksi Kamaksi - Hindolam - Rupakam Sarasvati Vidhiyuvati- Hindolam - Rupakam Tyagaraja - Hindolam - Rupakam Santana Ramasvaminam- Hindolavasantam - Adi<br /><br />21. Kiranavali - KiravaniPahncabhutakiranavalim - Kiranavali - Khanda Ekam Shri Vehnkatesham - Kalyanavasantam<br /><br />22. Shri Raga - KharaharapriyaKameshvarena - Shri - Adi Tyagaraja Mahadhvajaroha - Shri - Adi Shri Abhayamba - Shri - Adi Shri Kamalambike- Shri - Khanda Ekam Shri Muladharacakravinayaka - Shri - Adi Shri Varalaksmi - Shri - Rupakam Shri Laksmivaraham- Abhogi - Adi Nilotpalambikaya - Kannadagaula - Adi Balambikayah - Kanada (Kapi) - Adi Vishveshvaro Raksatu - Kanada (Kapi) - Adi Virahanumate Namo- Kapi - Rupakam Vehnkatacalapate - Kapi - Adi Shri Maharahnji (Manipravalam) - Kapi - Khanda Ekam Kayarohanesham- Devagandharam - Rupakam Pahncashatpitharupini- Devagandharam - Adi Tripurasundari - Devamanohari - Adi Bharati Mathisna - Devamanohari - Rupakam Mahadevena - Devamanohari - Adi Varahim - Devamanohari - Triputa Tyagarajadanyam - Darbar - Adi Halasyanatham - Darbar - Adi Palaya Mam Brhadishvara - Nayaki - Rupakam Pranatartiharam - Nayaki - Adi Rahnganayakam Bhavayeham- Nayaki - Adi Rahngapuravihara - Brndavana Sarahnga - Rupakam Saundararajam Ashraye - Brndavana Sarahnga - Rupakam Svaminathena - Brndavana Sarahnga - Adi Kalabhairavam - Bhairavam - Rupakam Mamava Pattabhirama - Manirahngu - Mishra Capu Dharmasamvardhani- Madhyamavati - Rupakam Pannagashayana - Madhyamavati - Adi Mahatripurasundari - Madhyamavati - Rupakam Shri Rajarajeshvarim - Madhyamavati - Rupakam Kanakasabhapatim - Malavashri - Adi Mahngalambayai Namaste - Malavashri - Jhampa Mahalaksmi Karunarasalahari - Madhavamanohari - Adi Gananayakam Bhajeham Bhaje - Rudrapriya - Adi Tyagesham Bhajare - Rudrapriya - Adi Parashaktim - Rudrapriya - Adi Rudrakopa - Rudrapriya - Rupakam Shivakayarohaneshaya - Rudrapriya - Rupakam Shri Tyagarajasya - Rudrapriya - Mishra Capu Shri Parthasarathina - Shuddha Dhanyashi - Rupakam Subrahmanyena Raksitoham - Shuddha Dhanyashi - Adi Kamaksi Mam Pahi - Shuddhadeshi - Rupakam Ni Sati Daivamu (Telugu Daru) - Shrirahnjani - Rupakam Parvatarajakumari - Shrirahnjani - Adi Balambikaya - Shrirahnjani - Caturashra Ekam Shri Dum Durge - Shrirahnjani - Khanda Ekam Shri Ramacandro - Shrirahnjani - Mishra Capu Abhayambayam Bhaktim Karomi - Sahana - Triputa Ishanadi Shivakaramahnce - Sahana - Rupakam Ramakrsnena - Sahana - Adi Shri Kamalambikayam Bhaktim Karomi - Sahana - Tishra Triputa Tyagarajena - Salagabhairavi - Adi Saindhaviragapriye - Saindhavi - Adi Paradevate Bhaktapujite - Huseni - Adi Shri Kalahastisha - Huseni - Khanda Capu<br /><br />23. Gaurivelavali - GaurimanohariKaumari Gauri Velavali - Gaurivelavali - Adi Parashakti Ishvari - Gaurivelavali - Adi<br /><br />24. Viravasantam - VarunapriyaEkamranathaya - Viravasantam - Rupakam Viravasanta Tyagaraja - Viravasantam - Adi<br /><br />25. Sharavati - MararahnjaniSharavatitata - Sharavati - Rupakam<br /><br />26. Tarahngini - CarukeshiPalaya Mam Parameshvari - Tarahngini - Rupakam Maye Tvam Yahi - Tarahngini - Adi<br /><br />27. Saurasena - SarasahngiSaurasenesham Vallisham - Saurasena - Adi<br /><br />28. Harikedaragaula - HarikambhojiAbhayamba Nayaka Varadayaka - Kedaragaula - Adi Abhayambaya Anyam Na Jane - Kedaragaula - Jhampa Nilakantham Bhajeham - Kedaragaula - Rupakam Nilotpalambikayai - Kedaragaula - Adi Balambikayah - Kedaragaula - Rupakam Tyagarajo - Atana - Rupakam Brahaspate Tarapate - Atana - Tishra Triputa Mahalihngeshvaraya - Athana - Adi Vamahngastitaya - Athana - Khanda Ekam Shri Daksinamurtim - Athana - Khanda Ekam Shri Madhurambikaya - Athana - Mishra Capu Shri Vaidyanatham - Athana - Adi Herambaya - Athana - Rupakam Brhannayaki - Andhali - Adi Ananta Balakrsna - Ishamanohari - Adi Jagadishamanohari - Ishamanohari - Rupakam Shri Gananatham - Ishamanohari - Rupakam Giticakrarathastitayai - Kannada - Mishra Capu Palaya Mam Parvatisha - Kannada - Rupakam Shri Matrbhutam - Kannada - Mishra Capu Dandanathaya - Kamas - Adi Shri Svaminathaya - Kamas - Khanda Capu Sadanane - Kamas - Adi Santanagopalakrsnam - Kamas - Rupakam Sarasadalanayana - Kamas - Triputa Enta Ninne Dhelupudura - Kamas - Tishra Ekam Kamalambikayai Kanakamshukayai - Kambhoji - Khanda Ata Kashi Vishveshvara Ehi - Kambhoji - Ata Kailasanathena - Kambhoji - Mishra Capu Gopalakrsnaya Namaste - Kambhoji - Adi Marakatavallim Manasa - Kambhoji - Adi Shri Valmikalihngam - Kambhoji - Ata Shri Subrahmanyaya Namaste - Kambhoji - Rupakam Sambasadashivaya - Kambhoji - Adi Sarasvati Chayatarahngini - Chayatarahngini - Adi Gahnge Mam Pahi - Juhnjuthi - Khanda Ekam Gajamba Nayako - Juhnjuthi - Mishra Capu Ganesha Kumara - Juhnjuthi - Caturashra Ekam Akhilandeshvari - Jujavanti - Adi Cetas Shri Balakrsnam Bhajare- Jujavanti - Rupakam Shrirama - Jujavanti - Rupakam Madhuramba Samraksatu - Devakriya - Adi Lalitambikam - Devakriya - Adi Shri Guruguha Tarayasumam- Devakriya - Rupakam Shri Vatukanatha - Devakriya - Mishra Capu Sandhya Devim - Devakriya - Adi Mahaganapate Palayasu - Natanarayani - Adi Gajadishadanyam - Natakurahnji - Mishra Capu Parvatikumaram - Natakurahnji - Rupakam Balambikayai - Natakurahnji - Rupakam Budham Ashrayami- Natakurahnji - Mishra Jhampa Shivakamipatim - Natakurahnji - Adi Nilotpalamba Jayati - Narayanagaula - Mishra Capu Shri Ramam Ravikulabdhi - Narayanagaula - Adi Guruguhadanyam - Balahamsa - Jhampa Mamava Raghuvira - Mahuri - Mishra Capu Abhayambikayai Ashvarudhayai- Yadukulakambhoji - Rupakam (2 Kalai) Tyagarajam Bhajare - Yadukulakambhoji - Mishra Capu Divakaratanujam Shanaishcaram- Yadukulakambhoji - Caturashra Ekam Annapurne Vishalaksi - Sama - Adi Guruguhaya - Sama - Adi Tripurasundari - Sama - Rupakam Parvatavardhani - Sama - Adi Ahngarakam Ashrayami Aham- Surati - Rupakam Govindarajaya Namaste - Surati - Rupakam Balakucambike - Surati - Rupakam Balasubrahmanyam - Surati - Adi Lalitaparameshvari - Surati - Adi Shri Vahncanatha - Surati - Adi Shri Vehnkatagirisham - Surati - Adi<br /><br />29. DhirashahnkarabharanamAksayalihngavibho - Shahnkarabharanam - Mishra Capu Gajananaya Namaste - Shahnkarabharanam - Rupakam Girijayajaya Abhayamibikaya - Shahnkarabharanam - Adi Tarakeshvara - Shahnkarabharanam - Adi Daksinamurte - Shahnkarabharanam - Mishra Jhampa Nagalihngam Bhajeham - Shahnkarabharanam - Adi Pavanatmajam - Shahnkarabharanam - Adi Brhadishvaraya - Shahnkarabharanam - Adi Shri Kamalambikaya Kataksitoham- Shahnkarabharanam - Rupakam Shri Venugopalam - Shahnkarabharanam - Rupakam Sadashivamupasmahe - Shahnkarabharanam - Adi Sundareshvaraya - Shahnkarabharanam - Rupakam Shahnkarabharanam Nottusvara: Ahnjaneyam - Tishra Ekam Kamalasana - Caturashra Ekam Kahncisham - Tishra Ekam Guruguha Sarasija - Caturashra Ekam Guruguhapadapahnkaja - Tishra Ekam Gurumurte - Rupakam Cintayeham Sada - Caturashra Ekam Jagadisha - Caturashra Ekam Dasharathe - Tishra Ekam Dinabandho - Tishra Ekam Pahnkajamukha - Tishra Ekam Paradevata - Tishram Paradevate - Rupakam Parvatipate - Caturashra Ekam Pahi Durge - Caturashra Ekam Pahi Mam - Tishra Ekam Pitavarnam - Tishra Ekam Maye Citkale - Tishra Ekam Mucukundavarada - Tishra Ekam Rajivalocanam - Tishra Ekam Rama Janardana - Tishra Ekam Ramacandram - Caturashra Ekam Vande Minaksi - Caturashra Ekam Varadaraja Pahi - Tishra Ekam Varashivabalam - Caturashra Ekam Vagdevi - Caturashra Ekam Shaktisahita - Tishra Ekam Shahnkaravara - Rupakam Shaurividhi Nute - Caturashra Ekam Shyamale Minaksi - Caturashra Ekam Shri Shahnkara - Tishram Sakalasuravinuta - Caturashra Ekam Sadashiva Jaye - Caturashra Ekam Santatam Govindarajam - Tishra Ekam Santatam Pahimam - Tishra Ekam Santanasaubhagya - Tishra Ekam Samaganapriye - Caturashra Ekam Subrahmanyam - Caturashra Ekam Somaskandam - Tishra Ekam He Maye - Tishra Ekam Akhilandeshvaryai - Arabhi - Adi Adipurishvaram - Arabhi - Adi Ganarajena - Arabhi - Mishra Capu Gaurishaya Namaste - Arabhi - Triputa Marakoti Koti Lavanya - Arabhi - Jhampa Shivakameshvaram - Arabhi - Adi Shri Sarasvati Namostute - Arabhi - Rupakam Shvetaranyeshvaram - Arabhi - Adi Shri Venugopala - Kurahnji - Jhampa Ambikaya Abhayambikaya- Kedaram - Adi Anandanatanaprakasham - Kedaram - Mishra Capu Cidambara Natarajam - Kedaram - Adi Kumbheshvaraya - Kedaram - Rupakam Ksitijaramanam - Devagandhari - Adi Vadanyeshvaram - Devagandhari - Adi Shalivatishvaram - Devagandhari - Adi Shri Minambikayah - Devagandhari - Rupakam Amba Nilayataksi - Nilambari - Adi Tyagarajam Bhajeham - Nilambari - Rupakam Nilahngam - Nilambari - Khanda Ekam Siddhishvaraya - Nilambari - Mishra Capu Hastivadanaya Namastubhyam - Navaroj - Mishra Capu Brhadishvaram Bhajare - Nagadhvani - Adi Shahnkaranarayanam - Narayanadeshaksi - Adi Mahisasuramardinim - Narayani - Mishra Capu Shahnkhacakragadha Panim - Purnacandrika - Rupakam Shri Rajarajeshvari - Purnacandrika - Adi Shri Rahnganathamupasmahe - Purnacandrika - Adi Nilotpalambikayam - Purvagaula - Rupakam Ekadantam Bhajeham - Bilahari - Mishra Capu Kamaksi Varalaksmi - Bilahari - Adi Shri Balasubrahmanyagaccha - Bilahari - Mishra Capu Shri Madhurapuriviharini - Bilahari - Rupakam Shri Sambashivam - Bilahari - Adi Hatakeshvara - Bilahari - Rupakam Tyagarajaya Namaste - Begada - Rupakam Madhurambayah - Begada - Mishra Capu Vallabhanayakasya Bhakto - Begada - Rupakam Shri Matah Shivavamahnge - Begada - Adi Somasundareshvaram - Shuddhavasantam - Adi Sarasvati Manohari Shahnkari - Sarasvatimanohari - Adi Parvatipatim - Hamsadhvani - Adi Vatapi Ganapatim Bhajeham - Hamsadhvani - Adi<br /><br />30. Nagabharanam - NaganandiniNagabharanam - Nagabharanam - Adi Pranatartiharaya - Samanta - Adi Vishvanathena - Samanta - Adi<br /><br />31. Kalavati - YagapriyaKalavati Kamalasana Yuvati - Kalavati - Adi<br /><br />32. Ragacudamani - RagavardhaniShvetaganapatim - Ragacudamani - Triputa<br /><br />33. Gahngatarahngini - GahngeyabhusaniVaradaraja Vava Vahncitadhika - Gahngatarahngini - Rupakam Kahnjadalayataksi Kamaksi Kamalamanohari Tripurasundari - Manohari - Adi Shahnkaramabhiramimanoharam - Manohari - Rupakam<br /><br />34. Bhogachayanata - VagadishvariBhogachayanatakapriye - Bhogachayanata - Adi<br /><br />35. Shailadeshaksi - ShuliniShailarajakumari - Shailadeshaksi - Adi Shri Shulinim Shri Tapalini - Shailadeshaksi - Adi<br /><br />36. Calanata - CalanataParameshvara Jagadishvara - Calanata - Adi Pavanatmajagaccha - Calanata - Jhampa Mahaganapatim Manasa Smarami - Calanata - Caturashra Ekam Svaminatha Paripalayasumam - Calanata - Adi Sakala Sadanakela - Nata<br /><br />37. Saugandini - SalagamKamakotipithavasini - Saugandini - Adi<br /><br />38. Jaganmohini - JalarnavamShri Vidya Rajagopalam - Jaganmohini - Tishra Ekam<br /><br />39. Dhalivarali - JhalavaraliMamava Minaksi - Varali - Mishra Capu Lambodaraya - Varali - Khanda Capu Shesacalanayakam - Varali - Rupakam<br /><br />40. Nabhomani - NavanitamNabhomani Candrahni Nayanam - Nabhomani - Mishra Capu Shri Nathasodarim - Nabhomani - Rupakam<br /><br />41. Kumbhini - PavaniSaccidanandamaya - Kumbhini - Adi<br /><br />42. Ravikriya - RaghupriyaHimagirikumari Ishvari - Ravikriya - Adi<br /><br />43. Girvani - GavambodhiNamonamaste Girvani - Girvani - Mishra Capu<br /><br />44. Bhavani - BhavapriyaJayati Shiva Bhavani - Bhavani - Rupakam<br /><br />45. Shivapantuvarali - ShubhapantuvaraliPashupatishvaram - Shivapantuvarali - Adi Shri Satyanarayanam - Shivapantuvarali - Rupakam Sadashivena - Sindhuramakriya - Adi Bhagavatishvaram - Shubhapantuvarali - Adi<br /><br />46. Stavarajam - SadvidhamarginiMadhurambam Bhajare - Stavarajam - Adi Stavarajadinuta - Stavarajam - Mishra Capu<br /><br />47. Sauviram - SuvarnahngiSarasa Sauvira - Sauviram - Adi<br /><br />48. Jivantika - DivyamaniBrhadishakataksena - Jivantika - Rupakam<br /><br />49. Dhavalahngam - DhavalambariShrhngaradi - Dhavalahngam - Khanda Ekam<br /><br />50. Namadeshi - NamanarayaniNarmada Kaveri Nilaiye - Namadeshi - Mishra Capu<br /><br />51. Kashiramakriya - KamavardhiniUccista Ganapatau - Kashiramakriya - Adi Margasahayashvaram - Kashiramakriya - Mishra Capu Ramanatham Bhajeham - Kashiramakriya - Rupakam Vishalaksim Vishveshim - Kashiramakriya - Triputa Shri Sundararajam - Kashiramakriya - Adi Senapate - Kashiramakriya - Adi Arddhanarishvaram - Kumudakriya - Rupakam<br /><br />52. Ramamanohari - RamapriyaMatahngi Shriraja - Ramamanohari - Rupakam Shrhngarashaktyayudha - Ramamanohari - Jhampa Smaramyaham Sada Rahum - Ramamanohari - Rupakam<br /><br />53. Gamakakriya - GamanashramaEkamranatham - Gamakakriya - Adi Kashi Vishalaksim - Gamakakriya - Rupakam Tiruvatishvaram - Gamakakriya - Rupakam Navaratnamalinim - Gamakakriya - Khanda Ekam Minaksi Me Mudam Dehi - Gamakakriya - Adi<br /><br />54. Vamshavati - VishvambariBhaktavatsalam - Vamshavati - Adi Vamshavati - Vamshavati - Adi<br /><br />55. Shyamalam - ShyamalahngiShyamalahngi - Shyamalam - Adi<br /><br />56. Camaram - ShanmukhapriyaEkamreshanayakim - Camaram - Adi Sadashraye Abhayambike - Camaram - Rupakam Siddhivinayakam Anisham- Camaram - Rupakam Mahasuram Ketumaham<- Camaram/Rupakam<br /><br />57. Sumadyuti - SimhendramadhyamamKamaksi Kamakoti Pithavasini - Sumadyuti - Rupakam Nilacalanatham - Sumadyuti - Adi Pamarajanapalini - Sumadyuti - Rupakam Shaileshvaram - Sumadyuti - Adi<br /><br />58. Deshisimharavam - HemavatiMadhurambikayam - Deshisimharavam - Rupakam Shri Kantimatim - Deshisimharavam - Adi Hariyuvatim Haimavatim - Deshisimharavam - Rupakam<br /><br />59. Dhamavati - DharmavatiParandhamavati Yuvati- Dhamavati - Rupakam Ramacandrasya - Dhamavati - Adi<br /><br />60. Nisadam - NitimatiNisadadi Deshadhipatinuta - Nisadam - Mishra Capu<br /><br />61. Kuntalam - KantamaniShri Sugandhikuntalambike - Kuntalam - Rupakam<br /><br />62. Ratipriya - RishabhapriyaMararatipriyam Bhaktipriyam - Ratipriya - Adi<br /><br />63. Gitapriya - LatahngiSadhujanavinutam - Gitapriya - Triputa<br /><br />64. Bhusavati - VacaspatiAbhiramim - Bhusavati - Rupakam Parvatishvarena - Bhusavati - Adi Bhusavatim - Bhusavati - Rupakam<br /><br />65. Shantakalyani - MecakalyaniAbhayamba Jagadamba Raksatu - Kalyani - Adi (2 Kalai) Kamalambam Bhajare - Kalyani - Adi Kamaksim Kalyanim - Kalyani - Rupakam Kumbheshvaraya - Kalyani - Mishra Capu Kumbheshvarena Samraksitoham - Kalyani - Adi Ganapate - Kalyani - Rupakam Jhnanaprasunambike - Kalyani - Rupakam Brahmavidyambike - Kalyani - Adi Bhajare Re Citta - Kalyani - Mishra Capu Shivakameshvarim Cintayeham - Kalyani - Adi Shri Mahngalambike - Kalyani - Ata Shri Madhurambike - Kalyani - Khanda Capu Kadambaripriyayai - Mohanam - Mishra Capu Gopika Manoharam - Mohanam - Rupakam Narasimha Agaccha - Mohanam - Mishra Capu Nagalihngam Namami - Mohanam - Adi Pahi Mam Parvati - Mohanam - Rupakam Raktaganapatim - Mohanam - Adi Rajagopalam - Mohanam - Rupakam Jambupate - Yamunakalyani - Rupakam Nandagopala Mukundagokul - Yamunakalyani - Adi Paramashivatmajam - Yamunakalyani - Adi Arunacalanatham - Sarahnga - Rupakam Tyagaraje Krtyakrtyam - Sarahnga - Jhampa Varadarajamupasmahe - Sarahnga - Rupakam Sarahngaragapriye - Sarahnga - Mishra Capu Parimalarahnganatham - Hamirkalyani - Rupakam Puraharanandana - Hamirkalyani - Adi<br /><br />66. Caturahngini - CitrambariEkamranatheshvarena - Caturahngini - Adi Guruguha Bhavantarahnginim - Caturahngini - Mishra Capu Anandamrtakarsini Amrtavarsini - Amrtavarsini - Adi Himagirikumari - Amrtavarsini - Adi<br /><br />67. Santanamahnjari - SucaritramSantanamahnjari - Santanamahnjari - Adi<br /><br />68. Jyoti Raga - JyotisvarupiniParamjyotismati Parvati - Jyoti - Adi Rame Bharatapalita - Jyoti - Khanda Capu<br /><br />69. Dhautapahncamam - DhatuvardhaniMatahngi Marakatahngi - Dhautapahncamam - Rupakam<br /><br />70. Nasamani - NasikabhusaniShri Krsno Mam Raksatu - Nasamani - Rupakam Shri Rama Sarasvatisevitam - Nasamani - Adi<br /><br />71. Kusumakaram - KosalamKusumakarashobhita - Kusumakaram - Rupakam<br /><br />72. Rasamahnjari - RasikapriyaShrhngararasamahnjarim - Rasamahnjari - Rupakam </span><br /></span>Karthik Subramanyhttp://www.blogger.com/profile/16942048825081160415noreply@blogger.com2