Muthuswamy Dikshitar

Carnatic composers

Re: Muthuswamy Dikshitar

#26  Postby Pratyaksham Bala » 28 Oct 2011 15:25

Constitution of India - Part XVII Chapter I
343. (1) The official language of the Union shall be Hindi in Devanagari script.

Hindi version:-
343. (1) संघ की राजभाषा हिन्दी और लिपि देवनागरी होगी।
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Re: Muthuswamy Dikshitar

#27  Postby rshankar » 28 Oct 2011 18:19

rAjbhAshA = nation's language/national language
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Re: Muthuswamy Dikshitar

#28  Postby Ranganayaki » 28 Oct 2011 19:19

classicallover wrote:Ranganayaki ( and others ),

You have very successfully not understood the essence of the message and your retort only suggests that you may also belong to the same tribe as that of Macaulay.

...
Your pessimistic singular feelings and opinions don't matter when all the above has been accepted by a vast majority of leaders and linguists including Hindi pundits. You must also know that Samskrit was preserved in south India by Tamilians mostly and the early kannadigas especially using the Grantham script.

You are also equally awfully wrong that I want that the kriti should go extinct. It is very much alive in safe hands of Shri Vidya practitioners and will never die. It is like Kohinoor diamond. If everyone possesses it, there is no value for it. It should not fall into the hands of people like you especially who want to dilute or denigrate its importance. The kriti is not begging everyone to learn it and kill it.


Classicallover,
I really would hate to start an angry exchange. I DID understand you correctly. I do value sanskrit. In fact, I happen to be making efforts to learn the language from a relative of mine who lives in Bangalore and we have had classes where she tries to teach me the language. The classes have been interrupted now for a few months, but my appreciation of her interest and commitment remain and I have worked on her assignments diligently.

I certainly understand correcly that you value Sanskrit and this kriti that you are discussing and that you DON'T want to kill it off. I happen to be interested in language learning, and teaching, and have a light interest in linguistics. I was just explaining to you what may naturally happen when an aspect of our culture or any culture is suppressed and not practiced. It dies.

What I said to you about many people learning the kriti badly increasing the chances of one person coming along who will sing it well is the truth. If we had elevated CM itself to that level, then even CM would go the way of sanskrit - alive in the hands of a few, used in select cirucumstances, but not practiced as a living language by a wide society. The fact that we have awful singers, poor students who sing badly is in general a good thing - because out of that group come a whole lot of rasikas, and out of that come better singers, and great performing artists.

I was not retorting, but I just could not accept your thought. The idea of not learning something beautiful because of the fear factor really went so much against my grain that I spoke. I don't like to start enraged controversies, so please accept my words and let's discuss it without anger. You certainly have my respect and regard for your offer to teach others, I have benefited from such an offer myself.
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Re: Muthuswamy Dikshitar

#29  Postby Pratyaksham Bala » 28 Oct 2011 19:20

rAj = Government
rASTra = Nation

rAjbhASA = Government/official language
rASTrabhASA = National language
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Re: Muthuswamy Dikshitar

#30  Postby vainika » 31 Oct 2011 18:13

Some may be interested in this article on MD and Sri Vidya
http://ssubbanna.sulekha.com/blog/post/ ... 5-0f-7.htm

I've heard the kRti rendered twice, the first by a SriVidya initiate. The second of these took me by surprise: this was a family settled for three generations in the US. The patriarch had emigrated from India in the early 60s. I had been invited to their home for a Devi puja, and was completely taken aback to find a group of 6-7 people singing the mantra kriti in unison on a cold December morning.

Kallidaikuruchi Sundaram Iyer has provided the notation in his Dikshita Kirtana Mala. There is no recording available in the public domain, as far as I know.

An online review of a Bharatanatyam arangetram (2008) in Atlanta mentions a mangalam in Madhyamavati on Sri RajaRajeshwari - don't know if it's the same kriti we're discussing - http://www.atlantadunia.com/dunia/Features/F109.htm
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Re: Muthuswamy Dikshitar

#31  Postby Pratyaksham Bala » 03 Nov 2011 15:04

vainika wrote:Some may be interested in this article on MD and Sri Vidya
http://ssubbanna.sulekha.com/blog/post/ ... 5-0f-7.htm

In the article, there is a profound statement:-
"A Sri Vidya Upasaka worships beauty and grace; rejecting ugliness in thought, word and deed."
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Re: Muthuswamy Dikshitar

#32  Postby rajeshnat » 06 Jan 2012 14:00

Looks like it was a nice lecdem of Smt Charumathi Ramachandran
http://www.thehindu.com/arts/music/article2777384.ece
There is a reference to asaveri krithi "sri kanchi nAyike", I think she sang that annaswami sAstri as a short detour , though this programme was on MD.
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Smt.Charumati Ramachandran lec-dem on mahan Muthuswamy dik

#33  Postby gobilalitha » 04 Feb 2012 06:26

Charumati Ramachandran in her lec-dem showed how each gem of the composer is associated with a place.

Charumathi Ramachandran’s Lec-dem on “Kasi to Rameswaram with Dikshitar - A Musical Journey” was an interesting voyage with her for the audience too. She began by touching upon the highlights of his life.

Muthuswamy Dikshitar was trained in Sanskrit, Telugu, music, veena, grammar, etc. by his father Ramaswamy Dikshitar who has composed songs on Kamalamba and Thyagaraja of Tiruvarur and his mudra was Venkatakrishna. He discovered the raga Hamsadwani.

Muthuswamy Dikshitar learnt jyotisha mantras and theory of music, etc., while staying with Manali Chinnayya Mudaliyar and he put them to use in his compositions. He went to Kasi with Chidambaranata Yogi, who taught him the secrets of nada, tantra and musical aspects of Carnatic and Hindustani, and also meditation. His stay there helped him to imbibe the Hindustani ragas and the drupad style which he incorporated in his compositions later.

Prayer and meditation on the banks of the Ganges, as ordained by his guru, brought him a divine veena with the inscription Sri Rama. He composed, after divine intervention, ‘Sri Nadadi’ in Mayamalavagowla,(which Charumati demonstrated) with his mudra “Guruguha,” and raga mudra, when he went to Tiruttani, again on the advice of his guru.

Charumathi sang Dikshitar’s compositions on Kasi Viswanathar and Annapoorani, ‘Visalakshim’ in Pantuvarali, and mentioned ‘Ehi Annapurne’ in Punnagavarali. In ‘Sri Viswanatham,’ the chaturdasa (14) Ragamalika composed by him he has incorporated raga mudra in each stanza. For instance, ‘SRI Viswanatham (Sriragam) Sritajana SamsARABHItya, GuruguhasamMOHANAkara, Sadasivam SAMAganavinutam, Satgatidaya KAMBHOJA charanam, etc. Charumathi sang some of these lines and gave the meaning also.

The next place was Ayodhya (mentioned as Saketapura or Nagara by both Tyagaraja and Dikshitar) and the kriti she took up for demonstration was ‘Ramachandram Bhavayami’ in Vasantha, where in the line, SAKETA NAGARE Ni VASANTHAm, both Ragamudra and Sthala mudra are incorporated.

It was in Kanchi that Dikshitar met Tygaraja’s Guru! Charumathi rendered ‘Sri Kanchi Nayike’ in Asaveri, ‘Ekamranatham’ in Purvikalyani, and ‘Varadarajam’ in Saranga. In the last mentioned kriti, Dikshitar dwells on the Garudasevai in that temple. Dikshitar juxtaposes the legends as well as description and beauty of the deities in these compositions. The Prithvi lingam of Kanchi is included in Dikshitar’s Panchabhuta linga sthala kritis. (Chintayama-Bhairavi).

Charumathi sang ‘Sri Parthasarathi’ in Suddha Dhanyasi with the observation that it could be on the presiding deity of the Triplicane temple. Sholingur (Narasimhagaccha) and Tirupati (Sri Venkata Girisam Alokaye, Suratti) were also included in his repertoire. A beautiful rendition of ‘Chandrasekaram’ on Siva in Marga Hindoam with raga mudra and ‘Akshaya Linga Vibho’ on the Kivalur deity were chosen for Siva. She sang niraval and swaram just to emphasise how well Dikshitar has incorporated these aesthetic elements in his songs.

Muthuswamy Dikshitar’s kritis were popularised by his brothers Chinnaswamy and Baluswamy and also by numerous disciples. Guru of the Thanjavur Quartet, Dikshitar also supervised the nagaswaram, dance and Sadir performances at the Tiruvarur temple.

Charumathi went on to explain the meaning of ‘Anandanatana Prakasam’ in Kedaram (also sang) on the cosmic dance of Siva (Akasa lingam of Chidambaram), ‘Brihadeeswaram’ in Lalita Panchamam (Thanjavur), the Gundakriya kriti (Gangai Konda Chozhapuram), ‘Rudrakopa’ in an appropriate raga Rudrapriya on Veerabhadreswarar of Velliangiri in which the deity’s consort, Bhadrakali is also mentioned.

She sang Dikshitar’s Dharmasamvardhani in Madhyamavathi with ragamudra in caranam (Thiruvaiyaru). He lived in Tiruvarur and composed a number of songs on Thyagarajaswamy as well as the Kamalamba and Abhayamba Navavaranams and a number of kritis on Nilotpalamba, and also the 16 shodasa Ganapathy kritis, etc. She demonstrated parts of some kritis and also explained the mention of different chakras in Navavaranams and how singing them is equal to the traditional Navavarana puja. The Navagraha kritis he composed on the nine planets are equivalent to Navagraha Puja. He has mentioned about the characteristics of the planets, vahanam, naivedyam and other things in these kritis.

Charumathi concluded Dikshitar’s musical pilgrimage at Rameswaram by singing ‘Sri Ramam’ in ‘Narayanagowla’ which gives a full description of Rama, and ‘Ramanatham Bhajeham’ in Kamavardani where he speaks of “Koti Tirta Prabhavam.” She summed up with the comment that with an encyclopaedic vision, Dikshitar included in all these compositions, sthalapurana, name of the deities, temple utsavam, practices, legends, vahanam, and also mantras, sastras, Vedas, etc. all in Sanskrit. The vocalist expressed regret that due to paucity of time she could not do justice to the subject.

Charumathi was accompanied by Ravi Srinivasan from the U.S. on the violin, Mudikondan Ramesh on the veena, and Aswin Sridhar on the mridangam. The lec-dem left one wondering why she did not present a concert this season.

Other destinations in Dikshitar’s pilgrimage:

Kumbakonam – ‘Kumbeswaraya Namaha’

Madurai – ‘Meenakshi Memudam’

Tirunelveli – ‘Sri Kantimatim’ and ‘Sri Lakshmi Varaham’

Tiruchendur – ‘Sri Subrahmanyo’ (mentions the practice of vibuti being given in leaf)

Nagapattinam – ‘Sri Soundararajam’

Ranganayakam – ‘Srirangam’ (with raga mudra RangaNAYAKIsameda)

Keywords: Margazhi music season 2011, carnatic music,
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Re: Muthuswamy Dikshitar

#34  Postby satyabalu » 04 Feb 2012 22:45

* Very scholarly &informative lecture.
* Ekambra natham ,I felt could be complete if a few samples of neraval "Omkara natham sivam" were elaborated &Sri viswanatham Charurdasa ragamalika to have been completely rendered -both are MLV forte (Charumathi had invariably accompanied MLV rendering these nos.)Charumathi agreed she could not cover for want of time.
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Re: Muthuswamy Dikshitar

#35  Postby Sreeni Rajarao » 28 Aug 2013 08:37

Today being Krishna Janmashtami, I would like to present an instrumental version (Veena) of Dikshitar's bAlagOpAla, performed by San Diego based Veena Kinhal (from a 1994 recording)

http://www.youtube.com/watch?v=7MUXKbgGZHY

You can also download this here:
http://archive.org/details/BAlagOpAla
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Re: Muthuswamy Dikshitar

#36  Postby venkatakailasam » 21 Oct 2013 17:46

To day is Muthuswamy Dikshadar's Mukthi Day...

Here is a Theme concert of his compositions by Smt. DK Pattammal..1.25 hours...

https://www.youtube.com/watch?v=pz51IM1CkvA
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Re: Muthuswamy Dikshitar

#37  Postby cmlover » 21 Oct 2013 19:55

Many many thanks for this Gem!
I guess the year is 1975 ?
Does the picture relate to this event?
In what way today is MD's mukti day?
(he died in 1835...)
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Re: Muthuswamy Dikshitar

#38  Postby venkatakailasam » 21 Oct 2013 21:17

21 oct 1835
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Re: Muthuswamy Dikshitar

#39  Postby satyabalu » 02 Jan 2014 14:44

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