Subbarama Dikshitar

Carnatic composers (other than performing vidwans)
RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Subbarama Dikshitar

Post by RSR »

In the beginning of this thread , there was a request for a biography .
We have a wonderful narrative blog by sreenivasaraos.
https://sreenivasaraos.com/tag/subbarama-dikshitar/
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(EXCERPTS-edited -for brevity)
Sri Subbarama Dikshitar and Sangita –Sampradaya-Pradarshini
Sri Subbarama Dikshitar
Sri Subbarama Dikshitar was the inheritor of a distinguished and glorious tradition- Dikshitar Parampara – of Musician-Composer-Scholars. The three successive generations of the great composer-musicians of the Dikshitar Parampara are indeed like the pillars of Karnataka Sangita.
The crest jewel in this Sarasvathi-kanta-abharana – that is the Dikshitar Parampara, was Sri Mutthuswamy Dikshitar (1775‑1835), one of the Trinities of Karnataka Sangita. He was the son of Sri Ramaswamy Dikshitar (1735 – 1817 A.D) who was proficient in the Lakshana (theory) and Lakshya (practice) of Karnataka Sangita. The popular Raga Hamsadhwani with which the concerts invariably takeoff (after the Varna) and which has also become a regular part of repertoire of Hindustani Music is said to be the creation of Sri Ramaswamy Dikshitar. He is also credited with large number of Tana-varnas, Pada-varnas, Darus, Raga-malikas and Kirtanas. His Raga-malika in 108 ragas and Taalas (Ashtottara Satha Raga Taala Malika) is an icon of his versatility and creative genius.
After Mutthuswamy, two sons – Chinnaswamy and Baluswamy–and a daughter Balambika were born to Sri Ramaswamy Dikshitar. All were accomplished musicians.
Sadly; Chinnaswamy died quite young at the age of 45 while on a pilgrimage to Madurai.
The youngest of the three brothers was Baluswamy Dikshitar (1786‑1858). He was younger to Sri Mutthuswamy Dikshitar by nearly about ten years. Since his illustrious elder brothers had taken to Veena, Vocal music and composing, Baluswamy decided to try something different and new. At the suggestion of the Dubash Venkatakrishna Mudaliar who was their family friend and patron, Baluswamy started learning to play on the western instrument – Violin – that was just getting popular in Madras.
Sri Subbarama Dikshitar (1839-1906) comes in as the fruit or the culmination of the distinguished Dikshitar Parampara. He was born in Tiruvarur in 1839 (i.e. four years after the demise of Sri Mutthuswamy Dikshitar) as the second son of Shivarama Iyer and Annapurni who was Baluswamy Dikshitar’s youngest daughter.

None of the three brothers – Mutthuswamy, Chinnaswamy nor Baluswamy – had a male child. On the advice of Kumara Ettappa Maharaja of Ettayapuram, who was their patron, Baluswamy adopted Subbarama the second son of his daughter Annapurni as his son. When Subbarama was adopted and brought to Ettayapuram he was just a lad of five years. Baluswamy, under the patronage of the Maharaja, arranged for the education of Subbarama in Sanskrit (Vyakarana, kavya, Alamkara), Telugu, Music and Veena. Subbarama was a bright young boy eager to learn; and, by the age of 17 he was just flowering into a talented musician and composer.
In his nineteenth year (1858), Subbarama Dikshita was appointed Asthana Vidwan of Ettayapuram, succeeding his foster-father Baluswamy Dikshitar who just had passed away.

Sri Subbarama Dikshitar led a busy and academically rich life at Ettayapuram. Sri Subbarama Dikshitar gained fame as a musician and a composer (Vak-geya-kara).
Though later in his life Sri Subbarama Dikshitar gained fame as a Lakshanakara, his contributions as a Vaggeyakara are also significant. While basically adhering to the style of Sri Mutthuswamy Dikshitar , Sri Subbarama Dikshitar displayed a great versatility , and produced not only kritis but also many Tanas, Chowka and Pada Varnas, Svarajatis, Raga-malikas and Darus with liberal Svarakshara passages and alliterations.
His writings and compositions were generally in Telugu language.
The body of his known Musical creations include Eight Kritis ( two in Bhairavi, two in Shankarabharanam; and one each in Sriranjani ,Yadukula kambodhi , Natakuranji , and Kalyani ); Seven Raga-malikas ( of these four are in praise of the King ); Twelve Varnams (four Tana-varnams, three Chowka Varnams and five Pada varnams ); and two Darus.
As regards his Kritis, Sri Subbarama Dikshitar followed the Mela- classification according to Govindacharya, though in his Raga-Lakshana Grantham Sangita-Sampradaya – Pradarshini , he adopted the Venkatamakhin classification of Melas,
Unlike in the case of Sri Tygaraja, the main line of disciples (Shishya-parampara) in the Dikshitar tradition (Dikshitar-parampara) is represented by its family members. Sri Ramaswamy Dikshitar was followed by his famous son Sri Mutthuswamy Dikshitar. And, Sri Mutthuswamy Dikshitar was followed by his brother Baluswamy Dikshitar who in turn was followed by his son Subbarama Dikshitar.
Sri Subbarama Dikshitar was followed by his son whom he named him as Mutthuswamy Dikshitar (who later gained fame as Ambi Dikshitar). And, Ambi Dikshitar was followed by his son Tiruvarur Baluswami Dikshitar.
Ambi Dikshitar

Ambi Dikshitar (1863-1936) who succeeded Sri Subbarama Dikshitar as the Asthana Vidwan (court musician) at Ettayapuram, stayed there for a long time. Later, he migrated to Madras where he lived for the rest of his life. While in Madras, Ambi Dikshitar gathered around him a circle of disciples, scholars and admirers. Ambi Dikshitar made his life mission to preserve and propagate the Kritis of Sri Mutthuswamy Dikshitar in their pristine purity. In his efforts, he was ably aided by Justice T. L. Venkatrama Iyer; brothers Tirunelveli, Anatakrishrna Iyer and Sundaram Iyer; and others.
DK Pattammal
Ambi Dikshitar initiated and guided Smt. D. K. Pattammal in singing Dikshitar’s Kritis. He was also the teacher of the renowned musician – Artist Shri S. Rajam who popularized rendering of Dikshitar’s Kritis over All India radio Madras. Shri Rajam also presented pictorial representations of many of Dikshitar’s Kritis.
( the next post deals with the history of his magnum opus
SSP )

RSR
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Joined: 11 Oct 2015, 23:31

Re: Subbarama Dikshitar

Post by RSR »

The making of Sangita Sampradaya Pradarshini
(source:https://sreenivasaraos.com/tag/subbarama-dikshitar/)

Sri A.M.Chinnaswāmi Mudaliyā , a Superintendent at that time in the Madras Government Secretariat, a Roman Catholic Christian with a consuming passion for Karnataka music, having started on his gigantic project of presenting Oriental Music in European Notation, sought out representatives of the direct Shishya-parampara of Tyagaraja like Walajahpet Krishnaswami Bhagavatar and wrote out 800 pieces of Tyagaraja and other composers in Staff Notation, checking his scripts with the aid of violinists trained in Western music who were asked to play them by sight.
During this period (1895) , A.M.Chinnaswāmi Mudaliyār , with his eyesight failing after years of notating and casting types, began corresponding with Sri Subbarama Dikshitar , who was then serving as the Asthana Vidwan at the Court of Ettayapuram , known for its patronage of arts. He also came into contact with Sri Subbarama Dikshitar and the Rajah of Ettayapuram. This relationship proved very significant, as it culminated in the publication of the Sangita Sampradaya Pradarshini in the year 1904, with the patronage of the Rajah of Ettayapuram. But, sadly, Sri Chinnaswamy Mudaliar passed away before the Book was published.
Thereafter, Cinnasami Mudaliyar stopped his projects; and, for three years, learnt the intricacies of Gamakas and the traditions of Venkatamakhin from me. Later he came to Ettayapuram, visited the Maharaja, and requested him that he should order Subbarama Dıksita to complete this ‘Sangıta Sampradaya Pradarsini’ in Telugu, which would prevent the loss of Venkatamakhin’s rules of laksya and laksana; and, also include the symbols for the Gamaka, tala kala pramanas (time scale), and have it printed in the music printing press ‘Vidya Vilasini’, belonging to the Court. "
As per the command of the Maharaja to me, I started on the 21st December 1901, and not only completed the ‘Purva vaggeyakara caritramu’; but also the information that is contained in this book, ‘Sangıta laksana sangraha ‘ that supports the symbols of Gamakas and Talas, which was started on 17th December, 1903, and is being continued.]"
Between the years 1895 and 1899 , Sri Subbarama Dikshitar made several trips to Madras to stay with Chinnaswamy Mudaliar and teach him the compositions of Sri Mutthuswamy Dikshitar and confirming the corrections of Chinnaswamy Mudaliar’s staff notations.
By about 1899, Chinnaswamy Mudaliar was finding it very difficult to carry out the printing and publication of these works, because of his failing eyesight. He therefore visited Ettayapuram and personally appealed to all those who mattered, including the Rajah himself, and convinced them the need for the Ettayapuram Samsthanam to take up the task of completing his mission and to ensure publication of his compilation. He also urged that Subbarama Dikshitar should be allowed to help in finalizing the notations for the entire music of the Dikshitar School.
Sri Subbarama Dikshitar himself records that he would not have undertaken the huge task but for the appeals and insistence of Sri Chinnaswami Mudaliar. In the year 1901, Subbarama Dikshitar at the age of 60 began working on the Sangita Sampradaya Pradarshini. It is truly a work of great love and intense dedication for the subject of Music. It reflects the depth of learning and artistic wisdom of Sri Dikshitar. Besides the original musical works (Varnas, Kritis, Raga-malikas, Darus etc) which Sri Subbarama Dikshitar himself composed , the explanatory notes he offers on the Raga-lakshanas, that illustrate the unique characteristic Svara phrases of each Raga, he adds elaborate Sanchari phrases that help in understanding the structure of the Raga.

An important aspect of this Book is the use of Gamaka signs in the notation that help in defining minute details in the musical structure of the composition. The explanations on how the Gamaka signs are to be interpreted and rendered in vocal and instrumental music are also given. This method of notation, aimed at reflecting the form of the song as it would be sung, has helped to retain the compositions in their original form, ensuring some uniformity and authenticity in the way they are rendered.

And, it is through his monumental work that we know about many compositions of Vaggeyakaras before and during his time. His Book, an encyclopedia of musicology, is indeed a treasure house.
Sri Subbarama Dikshitar worked on Sangita Sampradaya Pradarshini for more than four years. Its printing began towards the latter part of 1901 ; and , just as the work was in progress, Sri Chinnaswamy Mudaliar sadly passed away in December 1901.
The Sangita Sampradaya Pradarsini was published in 1906, in two volumes running into 1770 pages. In 1905, his book Prathama-abhyasa Pustakamu was published. This included early lessons in music as well as some Kritis. It contains both theoretical and practical aspects of elementary teaching methods; and is relevant to the music field even to this day. In this book Sri Subbarama Dikshitar included thirty-two compositions, under the title Nottaswara Sahithyamu with Svara notation, as technical compositions for beginners (Abhyasagana).
Later, Sri Subbarama Dikshitar intended to bring out the Collected Edition of the compositions of Sri Tyagaraja, the Kritis of Syama Shastry and the Padams of Kshetrayya. But, before his dream could be realised, death snatched him in the year 1906, when he was just about 67 years of age.


The monumental work contains the biographies of 77 musicologists and musicians right from the time of Sarangadeva to those of Subbarama Dikshitar himself, as also the biographies of some Ettayapuram rulers.
Some compositions of Sri Tyagaraja and Shyama Sastri, besides 229 of Sri Muthuswami Dikshitar also find place. In addition to two volumes of the main work Subbarama Dikshitar also brought out Prathama Abhyasa Pustakam of 230 pages meant for the beginners.

Thus, the Sangita Sampradaya Pradarshini is a singularly valuable resource for understanding the traditions of Karnataka Sangita and of Sri Muttuswami Dikshitar in particular.

In order to celebrate the 100 years of its publication in 1904, an English translation was undertaken by Dr.P.P. Narayanaswami and Dr. Vidya S Jayaraman along with a team of volunteer proofreaders. An English Web-edition has also been brought out. The English Web-edition is based on the original Telugu version and includes all the Gamaka symbols (ornamentation) and Svara notations as given in the original Edition. The Vaggeyakara Caritamu, the biographical accounts of Composers, is also given.
For the Web-edition of Sangita Sampradaya Pradarshini, please check the following link.
http://www.ibiblio.org/guruguha/ssp.htm
Volume I (Melas 1-24)
Volume II (Melas25-36)
Volume III (Melas37-72)
Anubandham
Vaggeyakara Caritam

We all owe a great debt of gratitude to Sri Subbarama Dikshitar, Sri Chinnaswamy Mudaliar, The Samsthanam of Ettiyapuram and its printers for this magnificent work. The efforts of the translators (into English) and their teams are truly commendable.

SrinathK
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Joined: 13 Jan 2013, 16:10

Re: Subbarama Dikshitar

Post by SrinathK »

Thank you very much for sharing this @RSR. Truly a Su-Ra of our great music.

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Subbarama Dikshitar

Post by RSR »

@53
@SrinathK
Thank you. Very glad that you like it and find it useful.
Dr.P.P.Narayanaswami and his team is doing great work.

mohan
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Joined: 03 Feb 2010, 16:52

Re: Subbarama Dikshitar

Post by mohan »

Revisiting this old thread.

Some musicians and musicologists hold the notations in SSP as sacrosanct.

In many books, I have noticed slight printing errors. Is not possible that similar errors are not in the SSP?

For example, has a comparison of the original Telugu version comprared to the English staff notation been done and are there any discrepencies? Just wondering!

kmrasika
Posts: 1258
Joined: 10 Mar 2006, 07:55

Re: Subbarama Dikshitar

Post by kmrasika »

mohan wrote: 14 Aug 2020, 14:17 À the notations in SSP as sacrosanct.

In many books, I have noticed slight printing errors. Is not possible that similar errors are not in the SSP?

For example, has a comparison of the original Telugu version comprared to the English staff notation been done and are there any discrepencies? Just wondering!
Guess this is the very reason why the litany of having a reputed guru(especially one that comes from lineal disciples of luminaries) is reiterated. Notations are merely a means to give the general idea of the tune. However, the guru helps one to reinforce the base, then edify it further by helping engineering concordant sangati-s, ornamentation, etc. This is indeed a tradition that has been handed down mostly through oral means, hence notation is to supplement, not replace it. MV notes in his prologue in his book that you can never completely condense the music value of a piece in its entirety in notation.

SrinathK
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Joined: 13 Jan 2013, 16:10

Re: Subbarama Dikshitar

Post by SrinathK »

The contributions of Subbarama Dikshitar on his janma nakshatra by my friend and guide Dr. T R Aravindhan :

https://www.youtube.com/watch?v=ZicJxEZAjEg

A lot of previously unknown facts about the composer and his contributions. Definitely worth a full fledged article in itself. I should translate it from tamil for the English readers.

Subbarama Dikshitar was a genius - a vast repository of music, composer, tunesmith, extremely knowledgeable musicologist, author, and very highly skilled and gifted at notations. He has single handedly kept the light of not only the Dikshitar sampradaya, but also an entire musical tradition burning through his works. His greatness will be understood better in the future as more and more people come to understand his work.

It is due to the efforts of Dr. N Ramanathan and Dr. R S Jayalakshmi and a host of others (read the foreword) who contributed to the project that the Sangeetha Sampradaya Pradarshini has come out in English free for all to read. The world must also know about Dr. Aravindhan's pioneering efforts via The Lost Melodies to bring out his works and more information about him.


The Lost Melodies
Posts: 78
Joined: 28 Jan 2021, 21:40

Re: Subbarama Dikshitar

Post by The Lost Melodies »

The kriti 'rama rama kali kalusha' is usually believed to be a composition of Sri Muthuswamy Dikshitar. This article touches on this myth and tries to establish Sri Subbarama Dikshitar to be the author of this kriti.

https://wordpress.com/post/tlmthelostme ... s.com/1369

This is an abridged version of an article published in English a few years back.

kmrasika
Posts: 1258
Joined: 10 Mar 2006, 07:55

Re: Subbarama Dikshitar

Post by kmrasika »

Found a lecdem on compositions of the dīkşita family by Smt. Sumitra Vasudevan: https://www.youtube.com/watch?v=RimBXnpBC9o



The Lost Melodies
Posts: 78
Joined: 28 Jan 2021, 21:40

Re: Subbarama Dikshitar

Post by The Lost Melodies »

The family of Sri Ramaswamy Diksitar was much connected with the festival Deepavali. Whereas Sri Muthuswamy Dikshitar attained the abode of Skanda on a Deepavali, 1835, his blessings to us took the form of Sri Subbarama Diksitar in the year 1839, on the star Hastam which was in close proximity with Deepavali.

Here is a special video to celebrate the contributions made by this family to the field of music.

https://www.youtube.com/watch?v=Ez1-8xDV58Y

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Subbarama Dikshitar

Post by RSR »

reg p-34
=======
<quote>
8: vIra dashamukhAri sEtu vibhu bhAskara mahIpAla
(svara sAhitya)
sakala surAsura sEvita shrI rAjarAjEshvarIkaruNA kaTAkSa
labdha sakala bhAgya dhurandharuDagu shrI bhAskara
You have killed the Raavana, You built the bridge to Lanka and you were born in the Surya Vamsa, You are worshipped by all the gods..
</quote>
So even Lord Ramachandra does not escape from these 'romance' composers! Pity.
Last edited by RSR on 15 Nov 2021, 17:32, edited 1 time in total.

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Subbarama Dikshitar

Post by RSR »

I need the lyrics and Sanskrit word-by-word meaning of kruthi on sankaracharya in shankarabaranam. sung by Smt.MS.

Can I get some help?

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