Thyagaraja (Krithis)

Carnatic composers (other than performing vidwans)
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nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

Only the tyAgarAja can ask the lord rAma if kausalyA has spoken ill of him !

On rAma navami, it is important for the nAda-upAsaka to remember also the Mother kausalyA.

In the rarely-heard SankarAbharanam “Enduki Calamu”, the tyAgarAja lists all the ladies (kE-kAnta jeppEnO ?) he thinks may have "turned the lord against him" naming kausalyA, ahalyA, Sabari , the sitA dEvi and swayamprabhA !!

It is somewhat notable that the tyAgarAja sees these illustrious ladies as his "rivals" and that he is measuring his own devotion and his musical pUja against their obvious proximity to the lord.

There are a few other kritis where the tyAgarAja remembers the Mother kausalyA.

Two of these are illustrated here with nice renditions.

Many thanks to artistes and upload agencies.

Sri rAma jayarAma – yadukula kAmbOji

CArulatA R
https://www.youtube.com/watch?v=WRnzZLNdKzI

pantula ramA
https://www.youtube.com/watch?v=q3oymwVV-dM

kamalAptakula – brindAvana sAranga

sitAlakSmi V
https://www.youtube.com/watch?v=FY2T2oNRJSw

sreedEv R
https://www.youtube.com/watch?v=AGHqkITfSNk

kanyAkumari violin ensemble
https://www.youtube.com/watch?v=M5zb9EFX8r4

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Thyagaraja (Krithis)

Post by rajeshnat »

Nadopasaka
I am reading each of your post on T MD and ST. Some are dense , all said thank you.

My request is for you to preferably space either once a day or better yet once in 2 days, for eg your 2 days back on ST is very detailed as with many MD, we all should read it and not jump because of lack of time or sustained concentration. Also I take some more time to say hear the rare raji gopalakrishnan singing say kalayami raghuramam in Begada. Any new unheard versions is a likely must hear for me . You can always type in notepad in one go then copy and paste once in a day or once in 2 days one post.

All said keep up your posts

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

rAjeshnat, I appreciate the interest and comments.

I must admit I got a bit carried away with the fervor of rAma navami etc.

Although I do feel one should (within legal/moral bounds) get “carried away” many times before being “carried out”.

Our vAggeyakAras are all about being carried away.

I first heard the GNB kalayAmi bEgada, more than 40 years ago, that too from a 10th hand reproduction of a cassette tape recording. It was already of 20+ years vintage at that time but the golden voice shone through.

Of course there are many other highly skilled vidWAns and viDUSi’s.

I wanted to contrast the lightning strikes of GNB with a bit more mellow version and vid. rAji G was a fine effort.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

sAram - ati-sAram ! , the essence of the sAma gAna

Only the tyAgarAja can distill the essence of the sAma gAna in 4 short powerful lines.

Background
All the true vAggeyakAras of the nAda-sampradAya fully recognize and pay homage to the sAma gAna of antiquity.

However old that “gAna” may be.. (and self-appointed “historians” on both sides of the globe continue to fight meaninglessly over its exact timeline). These fools do not realize that it remains always fresh for the Hindu nAda-upAsaka especially through the kritis of the Hindu sAdhus we call our vAggeyakAras.

The sAma-vEda’s special “meter/speech/song” subset, the CAndOgya upAniSad opens with the upAsana of the Om/pranava = the udgita as the essence of all essences, the rasa of all rasas.

It says

Om ityetad akSaram udgItam upAsIta
eSAṃ bhUtAnAṃ pṛthivI rasa - pṛthivyA ApO rasa - apAmoSadhayo rasa- oSadhinAṃ, puruSo rasa- puruSaSya vAgraso - vACarg rasa - ṛCa sAma rasa - sAmna udgIthO rasa


The Om/udgita is the ultimate root traced via the sequence “All things – earth – water – plants – man - speech – the rik vEda – the sAma vEda - Om/udgita” .

The next hundreds upon hundreds of stanzas codify the unique road to enlightenment that the sAma gAna reveals.

Of course this comes with rules including the respect for vows and the truth and integrity,.
(Naturally these concepts are lost on modern two-faced two-meaning proponents. Woe unto all of them, they are banished forever to the world of untruth , darkness and deathly silence. )

For the nAda-upAsakas , there is the sAramati “mOkSamu galadA”

There can be no doubt that the rAga “sAramati” was deliberately chosen by the tyAgarAja to represent (with his own musical sculpture of 4 lines) the “essence”, the “rasa”, the "sAra" of the “idea of enlightenment” = the mOkSa offered by proper nAda-upAsana.

In the brilliant “mOkSamu galadA” (the first line) the tyAgarAja links “sAkSAtkAra” to “sadbhakti sangIta” (the 2nd line) and the “pranava” to the sapta-swara nAda”(3rd line)

These profound ideas have been echoed through the ages by the Adi-Sankara as well in the smritis of yAgnavAlkya.

It is what the tyAgarAja says at the end that is most enlightening !

vInA vAdana lOlu-dau Siva-manO vidham erugaru (the 4th and last line)

mOkSa and the vinA

On the face of it, the teaching of the line here is that....”the upAsaka must realize, that even for the Siva, the way to bliss is through the nAda, realizable by the vinA”

Indeed, the smriti commentary on the sAma vEda also says “vinA vAdana tatva gyAm ..mOkSa mArga niyacchati” , linking mOkSa to the vinA and extolling the vinA as the core sound of the Om/pranava nAda.

Since “vAdana” can suggest both “sound” as well as “sounding” the possibility emerges that the line also implies that the Siva is a vainika.

Indeed in both scripture and sculpture, the Siva is known as “vinA-dhara” or vinA-dakSinAmurthy, holding and playing the vinA.

Some clarity is needed for the nAda-upAsaka.

It is the other great nAda-yOgi who is also a vainika that sheds light on the issue.

The rahasya of the Siva enjoying the vinA

The Dikshitar as a devout Sri-vidyA adherent repeatedly constructs and describes in his navAvaranas, the path to enlightenment as manifested in the Siva-Sakti union.

Now the dust begins to clear.

Besides the obvious saraswati , multiple dEvis are described as vainika’s by the Dikshitar as they approach and consummate the Siva-Sakti union within the navAvarana stages.

For example the abhayAmbA in the 9th Cakra CAmaram, the kamalAmbA in the 7th Cakra Sahana, the madurAmbA minAKSi in the 5th Cakra gamaka-kriyA as shown in posts # 564, 565, 567, 568.

Post # 568 also showed the nilOtpalAmbA navAvarana 9th Cakra kriti as the "Sri nIlOtpala nAyikE" ritigaula corresponding to the sarva-Anandamaya Cakra with the Cakra mudra “AnandAtmAnubhavE”. That this dEvi is ardha-SarIra with the tiruvArUr Siva is noted in the 4th Cakra mAyamAlavagaula kriti. So it is no surprise that this 9th Cakra kriti also ends with the indirect reference to the vinA with the words “SAradE gAna lOlE”.

Yet another example is the "vinA-vAdana-viduSyAmbikA" in the tOdi at vEdAranyam , which is a sapta-vitanka kSEtra where the union/marriage of Siva-ambikA is completed.

the Siva-Sakti union and mOkSa = self-realization as taught by the Sri-vidyA

The vinA playing dEvi is united with the Siva at the moment of enlightenment.

This is why the vinA is always associated with the theme of self-realization that the Siva-Sakti union symbolizes.

The Siva may well be a vainika on his own , but unless he is united with the vinA-playing dEvi, even he will be bereft of the ultimate enlightenment.

And that is the sAram of the sAramati kriti for the nAda-upAsaka.

fine examples are available, thanks to artistes and upload agencies

mOkSamu galadA - sAramati

triCUr brothers
https://www.youtube.com/watch?v=IE9_JUDBPGM

mandolin srinivAs
https://www.youtube.com/watch?v=5neNK_slZKk

MDR (which for effect began with the anu-pallavi ...as if MDR needs more effects)
https://www.youtube.com/watch?v=FGKGTJNGIpU

nAdaswaram haribAbu
https://www.youtube.com/watch?v=xpR02Xpve1E

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

the basis for the tyAgarAjas hamsa-dhwani kritis

Only the tyAgarAja's "song of the swan" hamsa-dhwani kritis refer to the ancient name of the hamsa = swan = Sun = raghu !

In fact he uses it TWICE .

in "raghu-nAyakA" as well as "Sri raghu-kula mandu"

Post # 532 of the Mutthuswamy Dikshitar kritis discussed the origins of the "vAtApi ganapatim" kriti in the "haMsA soham" mantra.

In contrast, the tyAgarAja takes the literal meaning of the word "hamsa =swan" from its description as the "Sun = raghu" as given variously in the scripture (e.g. 'uSasi hamsa mudIkSya" where the dawn Sun is uSa)

Now it is impossible not to hear these kritis !!

raghunAyaka

MSG
https://www.youtube.com/watch?v=asSyk85cwXU

Hyd Bros
https://www.youtube.com/watch?v=Wz26ZaoGUVA

Priya sisters
https://www.youtube.com/watch?v=c6o5Jt2LM5c

Sri raghukula mandu

flute sikkil sisters
https://www.youtube.com/watch?v=tBzzCRb8Sh8

ambikApuram sivarAman
https://www.youtube.com/watch?v=75qf2PiisnI

gs1968
Posts: 19
Joined: 01 May 2009, 07:35

Re: Thyagaraja (Krithis)

Post by gs1968 »

Does anyone have a list of Thyagaraja krithis to which chittaswaras have been added by others later, along with the name of the musician who added on the chittaswara?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

the guide, the method, the nAya... of the nAya-ki

Only the tyAgarAja dares to compete with the brahmA himself for the darSana of lord rAma !

The nAda-upAsaka is thrilled to add the nAyaki "kanugonu soukhyamu" to the list of famous kritis described in recent posts here, all unrecognized hitherto, whose explorations lead to a greater appreciation of the nAda-yOgi and his intent and state of mind at the moment of their creation.

There are several powerful messages in the short nAyaki, which need to be heard through the fog created by 200+ years of the cacophony of swara-demonstrators, deceptive notation-mongers and academicians.

The opening gambit reveals the teaching delivered by the tyAgarAja which is at once the basis for the rAga choice itself.

Why ?

Because the word "nAya" itself means the guide or path or method.

In this case it is that method which assures the tyAgarAja of the darSana of lord rAma.

With the words "kanugonu soukhyamu kamalaj-ukaina galguna" the tyAgarAja questions whether it is possible for brahmA (= kamalaja) to achieve this same darSana !

The line is epic tyAgarAja "tongue-in-cheek" since the rAmAyana itself springs from the discourse of nArada to vAlmiki.

And nArada , that travelling vainika and "information-provider" (but of variable IP address), is regarded as symbol of brahmA, in fact as brahmA's offspring.

Of course, the tyAgarAja acknowledges elsewhere, that the sage nArada has received the profuse darSana of lord rAma (e.g. "vara nArada" in the vijayasri kriti).

What the tyAgarAja is teaching in the nAya-ki kriti is that "even brahmA or nArada or any other deity or entity" MUST follow the proper "nAya" or "path" to attain the "sukham" or bliss that the tyAgarAja has ascended to.

And this "nAya" is to have integrity and resolve and honor and to SHUN ALL MANNER of deception.

The charanam phrase "tanu Oka, manasa Oka, vESa Oka" is a resounding "slap in the face" direct from the vAggeyakAra himself, for all the two-faced /two-meaning proponents, putrid researchers and their fraudulent intent. Untold woe unto all of these criminals.

"For that nAya", the nAya-ki is well illustrated in these examples.

kanugonu soukhyamu - nAyaki

rAmnAd kriSnan
https://www.youtube.com/watch?v=CVkfvOlwHA8

mAmbalam sisters
https://www.youtube.com/watch?v=zVJ-dvLdQDs

vidUSi vEdavalli
https://www.youtube.com/watch?v=_Q5HsHfuQoY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

questions and answers

the tyAgarAja needs only about 4 lines each in two kritis to frame his profound dilemma and in a third kriti to give his equally profound answer.

Two of these kritis have formed the cornerstone of hundreds of kutcheris in last several decades.

Inspite of that, their meanings retain their value, to the nAda-upAsaka.

the SankarAbharanam

In "Enduku peddala valE buddhi ?", it will be immediately observed that several attributes described by the words used by the tyAgarAja "tatva-artha, nAtha, nAda-vidyA" apply not just to lord rAma but are also iconic of the Siva.

In particular "bhEda-rahita vEdAnta" is the cornerstone of the Adi Sankara teachings.

"abhEda buddhi" itself appears also in sAnkhya-tatva writings.

And the SankarAbharanam rAga choice is also suggestive when "rAm-ayyA" is interpreted as the rAma-nAtha.

from "vada-riti" to the riti-gaulA

In "dvaitamu sukhamA ? advaitamu sukhamA ?", the tyAgarAja sharpens the question !

Naturally he has to use "riti-gaula" when asking for the enlightenment of which "riti" or path is to be chosen.

He demands a careful explanation "vistAra-mugAnu" and in the same breath begins to glimpse his answer.

It is no coincidence that in this one kriti, the lord rAma is described specifically as enjoying and embodying the 5 bhUta lingA elements "gagana pavana tapana, bhuvana and avana" iconic of the Siva !

Which brings us to the third kriti

the bEgada

In "nAdOpAsana CE", the tyAgarAja resolves both the above questions.

He sees no distinction between Sankara and nArAyana in the enlightenment given by nAda-upAsana.
And he discards the trappings of mantras/tantras for the nAda-yOgi.

the use of a rAga that is bhASAnga between hari-kAmbOji and Sankara-Abharanam is itself indicative of the "musical" peace the tyAgarAja has made.

And while there are many bhASAnga rAgas traversing between mEla 28 and 29 only bEgada carries the connotation of "cream" or essence as seen in the somewhat trite "bEgada mIgada".

Enduku peddala valE - SankarAbharanam

hEramb-hEmanth flute
https://www.youtube.com/watch?v=c3ydBAxp1iU

MSS
https://www.youtube.com/watch?v=x5D_1_ohTUs

ranjani-gAyatri
https://www.youtube.com/watch?v=AazxDZLXP-c

dwaitamu sukhamA - ritigaula

MDR
https://www.youtube.com/watch?v=hGfBfFdUo9k

vid. bharat Sundar
https://www.youtube.com/watch?v=TFk5W4EY2I0

nAdopAsana CE - bEgada

musiri SI
https://www.youtube.com/watch?v=5xAfIrU2J-s

KVN
https://www.youtube.com/watch?v=EnjAUCVfrxk

TS kalyAnarAman
https://www.youtube.com/watch?v=K3WNhMKvRH4

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

the mantra and the rAga

Only the tyAgarAja properly invokes the ganapati with the swara-aSta rAga = saurASt-ram in "Sri ganapati ni".

Why ?

Because the formal ganapati invocation, the ganapati gAyatri mantra is also "aSta swara" = 8 syllables !

E-ka-dan-tA-ya-vid-ma-hE
vak-ra-tun-dA-ya-dhi-ma-hi
tan-nO-dan-ti-pra-CO-da-yAt

As can be seen, the "ganapati gAyatri" mantra is also in 3 lines like the widely known "surya gAyatri" mantra.

In fact it is this "surya gAyatri" that the Dikshitar refers to with the phrase "saura-aStArna mantrAtmanE" in his saurAStra surya graha kriti "suryamUrtE namOstutE" .

The "Sri ganapati ni" kriti is regarded as invocation preceding the tyAgarAja's prahlAda bhakti vijayam.

Not surprisingly, the tyAgarAja's other famous saurAStram kriti, the mangalam "nI nAma rupa mulaku", also refers to prahalAda in its penultimate line.

Indeed the aSta-swara (8 syllable) structure is also observed in the mangalam (in key lines)

nI-nA-ma-ru-pa-mu-la-ku
pra-ha-lA-da-nA-ra-dA-di
bhak-tu-lu-po-ga-du-cun-dE
nI-nA-ma-ru-pa-mu-la-ku
rA-jI-va-na-ya-na-tyA-ga
rA-ja-vi-nu-ta-ma-ii-na
nI-nA-ma-ru-pa-mu-la-ku

It is safe to say that while the tyAgarAja ganapati kriti has been rendered hundreds of times, the mangalam kriti renditions are easily into the thousands, because it concludes almost every kutcheri ever sung !

And, (as far as I can tell) , there has been a total lack of comprehension that the rAga choices made by the tyAgarAja in this case (and all the others noted recently in this thread) are NOT random.

In any case, the nAda-upAsaka revels always in the tyAgarAjas brilliant visions.

Sri ganapati ni sEvimpa rArE

priya sisters
https://www.youtube.com/watch?v=Dfn4gMnWpm8

nI nAma rupa mulaku

TS kalyAnarAman
https://www.youtube.com/watch?v=d5YS1KP9Axc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (the tiruvOtriyUr tripurasundari panCa-vAra kritis)

Post by nAdopAsaka »

the tiruvOtriyUr tripurasundari panCa-vAra kritis

Only the tyAgarAja worships the tiruvOtriyUr tripurasundari with a complete set of 5 vAra kritis !

It will be shown in this post that the 5 kritis of the tyAgarAja to the tiruvOtriyUr tripurasundari (the vadivudai-ammA) follow a highly organized pattern.

Recognizing this pattern SIMULTANEOUSLY gives the basis for EACH of the rAga choices made by the tyAgarAja at this shrine !

Background

The vAggeyakAras of the Hindu nAda-sampradAya are supreme "communicators".

At one interface they are in communion with the deities and the source of nAda. At another interface they try to make contact with the nAda-upAsaka to reveal their essential teaching.

But over the last two hundred years this wondrous child of the communion of vAggeyakAra with deity, has been bludgeoned relentlessly by the cult of the performer and by technicalities and swara-gymnastics of the kutchEri vidwAn/wedding singer.

The beautiful nAda-child has run behind its Mothers leg for shelter.

But today once again the nAda-upAsaka rejoices as that same frightened child, peeping out from behind the deity, bestows its shy glance !

the basis for the panCa-vAra structure of the tyAgarAjas tiruvOtriyUr kSEtra dEvi kritis

It has already been shown in post # 747 of the Mutthuswamy Dikshitar thread that the Dikshitar acknowledges fidelity to the "BEGINNING" symbolized at Adi-pura, with the Arabhya = Arabhi rAga kriti. He also honors the "BEGINNING" sound at Adi-pura with the sAma-gAna rAga kriti.

Exactly in keeping with this logic, the tyAgarAja offers ONE-BY-ONE, a unique kriti for each day of the week starting from sOma-vAra and culminating with the Sukra-vAra.

the Arabhi kriti as the tiruvOtriyUr sOma-vAra pujA.

The tyAgarAja offers Arabhi as the sOma-vAra kriti at Adi-pura

Why ?

1. Because Arabhi (as Arabhya) denotes the beginning status of Adi-pura, as noted also for the Dikshitar.
2. Because the moon = sOma is also known as "abhi-rupa" which aspect is present in the word Ar-abhi.
3. In the kriti "sundari ninnu varnimpa", the tyAgarAja also refers to this moon via the words "kaluvala-rAja" = king of the night-lily and "kunda-radanE", (where "kunda" is a particular appearance of the moon, although applied here as a synonym for jasmine-like teeth).

the bEgada kriti as the tiruvOtriyUr mangala-vAra pujA

This is a particular thrill to explain and comprehend.

It turns out that the mangala/Mars deity has a long and beautiful neck, celebrated as the "kam-bu-gala" in the angAraka Tuesday graha kriti by the Dikshitar.

Additionally, in at least one kriti (Sri mAtah) the Dikshitar refers to the long neck of the dEvi as "bE-gala", while delivering the word & rAga bE-gada.

It seems the tyAgarAja was paying attention to this same feature when offering his own bE-gada "sundari nannindarilO" as the Tuesday pujA !

Of course one should have been alerted to the word "gala" from the word man-gala itself !

So two down , three to go...the dominoes they are a falling as the sweet nAda-child continues to favor its devotee.

The next two vAra kritis are in sAvEri and Suddha sAvEri.

why the sAvEri's ?

To comprehend the choice for the next two kritis one needs to understand the background to the word "sAvEri".

sAvEri derives from sAvitri who is of course saraswati, the consort of brahmA.

Incidentally, the mahArAja says of the pArvati dEvi, that she is born of the same body (tanujA) as sAvEri = saraswati in the terrific sAvEri pada-varna "sAvEri-ha tanujA".

Both budha-vAra and guru-vAra are linked to the deities budha and guru who originate from brahmA, and therefore from saraswati.

Having comprehended these aspects the specific choices now become clear.

the sAvEri kriti as the tiruvOtriyUr budha-vAra pujA

sAvEri = saraswati = SaradA = vAgiSwari is also "budha-lOka vilasita" in the mahArAjas "pAhi-mAm" kalyAni kriti.
This identifies the choice of sAvEri for the budha-vAra or Wednesday pujA !

But the tyAgarAja (just like the nAda-upAsaka) knows that the criminal detractors = notation-mongers and other revisionists are always lurking and skulking in the shadows. (Untold woe unto all of them)

So he reinforces the sAvEri kriti "kanna talli" for budha-vAra with another important embedded pointer !

The budha graha is symbolic of intelligence and intellect, aka buddhi. Notice also that the Dikshitar calls him "pustaka-karam" in the nAta-kuranji graha kriti.

The tyAgarAja goes further by embedding the famous teaching of intellect via the rope/snake story, (discussed in depth by the Adi Sankara) .

In merely 4 words "telisi rajju-pai Uraga buddhi" ! he condenses his demand for that buddhi = intellect that is able to see the difference between a rope (rajju aka "rassi") and a snake (Uraga), which discussion is iconic of the mAndUkya upAniSad.

the Suddha sAvEri kriti as the tiruvOtriyUr guru-vAra pujA

guru or brihaspati is "brahmA-jAta" and therefore , like brahmA's consort saraswati = sAvEri, representative also of learning and wisdom.

brihaspati is also "parAdi-cAtvAri vAk swarupa" , of the form of four-fold speech (para-vAk etc. etc.), as seen also in the "brihaspatE" graha kriti of the Dikshitar.

brihaspati is therefore the deity of speech or vAk, which is controlled by the throat Cakra = viSuddha Cakra !

The Cakra nature of the tripurasundari at tiruvOtriyUr is also noted by the Dikshitar.

So invoking the viSuddha is entirely in alignment wiith the kSEtra.

There is only one rAga , iconic of guru-vAra, that is at once reflective of "vi-Suddha" and also of sAvEri...namely Suddha sAvEri.

Once again the tyAgarAja does not leave any doubt, because he embeds the word "guru-ni vAsara sEva" in the last Caranam of the iconic "dArini telusukonti" kriti, at the end of the well-known line that begins "rajita mani gana" .

the kalyAni kriti as the tiruvOtriyUr Sukra-vAra pujA

Is there a better name for the goddess than kalyAni for the nAda-yOgi who fulfills his quest for her on the fifth and final day of her pujA ?!!

Indeed, the tyAgarAja states the words "Sukra-vAra sEva" in this kriti overtly.

And the darSana is captured as "sundari ni divya rupamu juCi".

kalyAni is "she who bestows all good , all good things, all wishes and all good fortune". The pujA is designed after 5 days to invoke the tripura-sundari as this kalyAni.

And naturally Venus (or Sukra) is the benevolent graha which brings exactly those auspicious blessings = kalyAni.

Summary

The Hindu vAggeyakAras of the nAda-sampradAya give us their kritis, not just for mere musical/swara appreciation but to communicate deeper messages.

One can, of course listen, as most rasikas do, at a superficial level, and bathe in this fountain of joy.

But the amrita from this fountain should not just cleanse the outer surface of the rasika.

The nAda-upAsaka must also absorb the messages.

The music and message of our nAda-yOgis must CHANGE the listener.

This is the nAda-sampradAya pradarSini, the reiteration and illustration of Hindu truth and shruti.

What better evidence can there be that this truth is beauty than these magnificient kritis to the beautiful first Mother = the tiruvOtriyUr tripura-sundari !

the sOma-vAra kriti

sundari ninnu varnimpa - Arabhi

vid. vidyA K
https://www.youtube.com/watch?v=Rni6Jio-Vx4

the mangala-vAra kriti

sundari nannindarilo - bEgada

NCV ( the spring kOkila)
https://www.youtube.com/watch?v=F-aVehAUSVY
s rAjam
https://www.youtube.com/watch?v=0qqyuLhJnr0

the budha-vAra kriti

kanna talli - sAvEri

TNS
https://www.youtube.com/watch?v=KmYUVVDp5v0
viSnudEv N
https://www.youtube.com/watch?v=MmqVW_CU8Sg

the guru-vAra kriti

dArini telusukonti - Suddha sAvEri

GNB
https://www.youtube.com/watch?v=QszavuZ6Blw
MSS
https://www.youtube.com/watch?v=C-K1rg64_qA
young vidwAn hari O
https://www.youtube.com/watch?v=mjzsH7xjtNc

the Sukra-vAra kriti

sundari nI divya rupamU - kalyAni

BMK
https://www.youtube.com/watch?v=S-0Fuf4Bn_I
Hyd Bros.
https://www.youtube.com/watch?v=Jt-Fr1ZEhXM
bangalore Bros.
https://www.youtube.com/watch?v=rxlRX0fBJCM

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The tyAgarAjas telescope - the Srirangam panCa-ratna vision of the shawl-clad , horse-riding viSnu )

Post by nAdopAsaka »

The tyAgarAjas telescope - the Srirangam panCa-ratna vision of the shawl-clad , horse-riding viSnu

Only the tyAgarAja worships the aStAkSara , 8 syllable nArAyana deity with a panCa-ratna set of 5 kritis !

Background
The Hindu vAggeyakAras of the nAda-sampradAya are like Hubble the astronomer.

They have also built, in every one of their kritis , a super-telescope !

But there the similarity ends.

When Hubble first saw the "red-shift" with his outward looking lenses, he refused to believe what it meant.

Unlike Hubble, the vAggeyakAras telescopes, (their wondrous kritis) gaze not just far outward but also penetrate inward.

Also unlike Hubble, these nAda-yOgis completely believed what they saw and heard !

And all nAda-upAsakas are forever enriched by their quest and their vision..

At Srirangam however the vision and the "shift" is not to the red but towards the blue/gold, since the deity is viSnu.

Which brings us to the Srirangam panCa-ratna kritis.

The aStAkSara , 8 syllable nArAyana deity being offered a panCa-ratna set of 5 kritis might seem a bit odd to some.

Perhaps the tyAgarAja was commemorating the iconic panCa-rAtra pujA ??

Or

Is it possible that each rAga carries a signature of the panCa bhuta elements ?

for example
Arabhi for vAyu from the life-giving breath where all consciousness BEGINS =Arambham
( e.g. see hari prAna-maya kOSa-anila of the Dikshitar at SrikAlahasti)
dEvagAndhAri for gagana from celestial or heavenly entities (dEva)
sAranga for jala from sAra (the liquid essence)
kAma-bOji for agni from the "fire of kAma" ( the heat of desire)
and
dESya tOdi for prithvi from dESa = land = bhumi

The Dikshitar does the similar pujA at palani offering each of the five gandha/elements to the dandAyudhapAni ascetic. (post # 720 of the Mutthuswamy Dikshitar thread). And the tyAgarAja describes lord rAma as enjoying each of these 5 elements in his matchless ritigaula "dwaitamu sukhamA".

Verily has the telescope become a kaleidoscope of thoughts, inspired by the colorful deity !

One thing, however, is absolutely clear... the Srirangam set is ALSO the result of a careful and consolidated pujA.

This post will show how the tyAgarAjas 5 Srirangam kritis are inter-connected and how their very rAga choices are inextricably linked , indeed dictated by the kSEtra.

These findings (all new) , once again confirm the pre-meditation and deliberation applied by the tyAgarAja at this shrine , just like that shown for tiruvOtriyUr in post # 510 of this thread.

the tyAgarAjas Srirangam panCa-ratna kritis

The following aspects should first be comprehended.
1. The 5 kritis of this set are all short, less than 4-5 lines each, unlike the colossal 3 stanzas each of the 5 tiruvOtriyUr set.
2. All the kritis either "call the deity" or "call the listener to behold the deity" , with, multiple , repeated use of words of similar intent such as "pilaCitE, vina, jutAmu, rArE, judu etc. etc.
3. The horse-riding deity (which is a particular aspect of Srirangam utsava procession) is specifically noted in multiple kritis, in different ways.

All the rAga choices are linked to particular aspects of the deity/kSEtra. Once again it is the word names of the rAgas that control their selection, NOT the swaras.

Each kriti is now taken up individually to describe these rAga choices.

O rangaSayi - the basis for rAga kAmbOji
This is arguably a dominant kriti in kutchEris etc. of the last 100 years.

It was also sung by MSS at the UN in 1966 (but unfortunately had little effect on any world peace initiatives ).

I had noted this kriti in post # 492.

viSnu as Sri-ranga, who is also kAma-janaka is "accused', gently, by the tyAgarAja in this kriti of enjoying (= bhOja) rather too much, his time with the dEvi, (Sri-lOludai) and neglecting his devotees.

The rAga choice of kam(a)bhOja is a direct consequence of this idea.

vina rAdanA manavi - the basis for rAga dEvagAndhAri
The word "gandharva" refers to a celestial singer or group of such singers.

Therefore the choice of this rAga as the song of celestial singers follows from this meaning of the word gandharva
Indeed "gandharva-gAna" is well known in viSnu worship.

It will also be observed that the tyAgarAja repeats the "pilaCitE" word 3 times in this kriti.

Notably "gandharva" refers also to a horse, which is an indelible impression of Srirangam festival.

And the tyAgarAja refers to this horse as "tEji-ni-ekki" where "tEji" is the "borrowed" Hindi/Urdu word for "swift" or tEz, referring to the vAhana of the procession idol.

karuNa jUda-vayya mAyayya kAvETi rangayya - the basis for rAga sAranga
This choice is fairly obvious.

It is IMPOSSIBLE for a kriti , by any true nAda-yOgi, not to be associated with the word "sA-ranga" when offered to the ranga-nAtha at Srirangam. Note that the Dikshitar has the brindAvana sAranga (rangapura vihAra) in this kSEtra.

sA-ranga also means "with ranga" and the tyAgarAja cements this thought with repeated use of the word "karam-idi", the hand-holding he seeks of the lord.

Of particular interest is how the phrase juda-vayya mAy-ayya is drawn out in the kriti, almost like a horse neighing ! The vidUSi Sowmyas example linked below illustrates this amply.

jutAmu rArE - the basis for rAga Arabhi
The vAyu bhuta element mentioned earlier is one aspect of the "Beginning" symbolized by the word Arabhi = Arabhya = Arambham.

Additionally, the word "abhi" indicates the moon which is known as "abhi-rupah"

The rAga name Ar-abhi therefore also satisfies the connection between the moon and the viSnu deity.

It is useful to remember that viSnu is invoked with the words "SuklAm baradaram viSnum SaSi-varnam" and his major avatAras are known as "CandrAnana" or "raghukula jalanidhi sOma".

In fact in the kriti, the tyAgarAja also says that the Srirangam viSnu is measured against the moon as "mukha nirjita candru-daTa'.

This kriti carries an interesting reference to the garment , i.e. the shawl covering the idol.

The tyAgarAja once again uses a "borrowed" Hindi/Urdu word "SAlu" in the phrase.
"sItApati pUjyu-daTa SrngAra SEkharu-daTa, sariganCu SAlu-vaTa"

Indeed the word for this garment originated in the Urdu language as "SAl" and was then translated into "Shawl" in the English language.

rAju vEdalE jUtAmu rArE - the basis for rAga dESya tODi
The kriti describes the deity as "kastUri ranga tEji-nekki" referring to the horse-vAhana of the Srirangam procession.

We have also seen in the dEvagAndhAri kriti, that the word tEji is a synonym for the horse , with a core meaning of "swift" = tEz from the Urdu.

Notably the horse is also known in Sanskrit as GOti-ka = GOdi-ka, often shortened to GOdi in Hindi.

There is no doubt the tyAgarAja is referring to this horse G-Odi with the word t-Odi.

The fact that the rAga is "dESya-tODi" is further confirmation since the word "GOdi" is itself a dESya usage, since it primarily found in Hindi/Urdu.

The various unique markers given in each kriti text (e.g. moon in Arabhi, karamidi in the sAranga, Sri-lOlu in the kAmbOji etc. ) also preclude the possibility that the rAgas are interchangeable within the set.

Summary
Hubble and the periodic table alchemists just like the "shylocks of swaras" and the "merchants of murchanas" have missed the meaning of existence and consciousness, that the nAda-yOgis recognize.

It is not the individual atoms and molecules , (the swaras) of the universe , that are paramount.

Through their telescopes, their wondrous kritis, the Hindu vAggeyakAras teach that what is paramount is the reason all these swaras/atoms/molecules are held together.

At Srirangam = bhulOka vaikuntha (or anywhere else), there is no point singing any of these kritis without realizing the basic intent of this pujA.

The findings being revealed in all these posts HAVE to be true, because no one (the nAda-upAsaka included) has the imagination to make them up.


O rangaSAyi - kambOji
ramana B - excellent resonant veena
https://www.youtube.com/watch?v=6Dqrd4AisAQ

MSS at Srirangam 1987
https://www.youtube.com/watch?v=pVbV2JnQe9s

vina rAdA nA manavi - dEvagAndhAri
rAmnAd K
https://www.youtube.com/watch?v=-CP7qEfRivo
OST
https://www.youtube.com/watch?v=VN7Snc4XGNI

karunA juduvayyA - sAranga
AlatUr bros.
https://www.youtube.com/watch?v=ExRvtVUS8gQ
vid. sOwmya
https://www.youtube.com/watch?v=ul47PT5-YxE

jutAmu rArE - Arabhi
rAji G
https://www.youtube.com/watch?v=QGa2XX6mFsg
veena sujana
https://www.youtube.com/watch?v=_8ml4WHMCvE

rAju veDale jUtAmu rArE - dESya tODi
KVN
https://www.youtube.com/watch?v=c9TyIJ5VXBY
MLV
https://www.youtube.com/watch?v=3clUB4KS1QQ

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The Dikshitars Srirangam panCa-ratna and its panCa bhuta pujA)

Post by nAdopAsaka »

please see the Mutthuswamy Dikshitar thread for the Dikshitars Srirangam panCa-ratna and its panCa bhuta pujA


viewtopic.php?p=376247#p376247
Last edited by nAdopAsaka on 14 May 2022, 14:29, edited 1 time in total.

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

Re: Thyagaraja (Krithis)

Post by RSR »

Sir,
I submit that the post 512 is made in MD kruthis thread and a link given in Thyagaraja thread.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (supOSini and the nurturing = su-pO-Sana of the rAma nAma)

Post by nAdopAsaka »

supOSini and the nurturing = su-pO-Sana of the rAma nAma

It is Only the tyAgarAja who chooses the rAga supOSini for his divya nAma sankirtana "raminCuvArevarurA"

And why not ?!

The rAga word "su-pOSana" or "pOSana" itself implies "nourishing fulfillment" or "nurturing"... perfectly aligned with the meaning and intent of the sacred rAma nAma sankirtana.

Indeed the influence of the rAga word on this short kriti does not end there !

Inspired by the fact that the word "pO-San-a" carries also the word San = six, the tyAgarAja goes on to describe the lord himself as FILLED (ganA) with the San = SIX-FOLD attributes starting from Sama, dama etc...= as he says Sama-Adi Sad-guNa gaNA, where Sad = 6 = San.

(naturally San = six as in San-mukha)

And once again it is seen that the nAda-yOgi, the tone-poet, the sAdhu, the sentinel and the symbol of Hindu values, the Hindu vAggeyakAra is NOT selecting the rAga from some soul-less (Excel or Word etc) table of mEla/janya/swara classes....rather the selection is made by "visualizing" the rAga's word/meaning, which then impacts the entire lyric and is offered as an integral part of the pujA.

The rAga "supOSini" has NOT attracted any other compositions (as far as I can tell) and also rather limited interest from modern "swara-virtuosos"/kutcheri vidwAns. I am quite doubtful that it has ever been requested from a vidwAn at a kutchEri.

In fact the only-known-kriti in supOSini "ramin-CuvArevarurA" itself delivers the rAga as a folksy tune/childish ditty.

A similar approach is employed by the tyAgarAja for example in the sing-song-like mOhana "bhavanuta nA hrdayamuna ramim-pumu" where he beckons the "bhava tAraka rAma".

But this "seeming simplification" itself conceals the powerful message that the tyagarAja is sending !

That the divya nAma sankirtana and its value to anyone, does not and should not need too much scholarship or planning or even AlApana.

Like Einstein, the tyAgarAja keeps things "only as simple as needed, never simpler".

raminCuvArevarurA - supOSini

flute p. parAsuram
https://www.youtube.com/watch?v=g7MsAmILvsI

violin bharath h
https://www.youtube.com/watch?v=rGD9vFNSH28

vocal rAjkumAr B
https://www.youtube.com/watch?v=5RGdjMWN6PA

bhavanuta nA hrdayamuna - mOhana

MSG
https://www.youtube.com/watch?v=WgPldEvhRYs

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Thyagaraja (Krithis)

Post by rajeshnat »

raminCuvArevarurA - supOSini is the second krithi of T that was taught by my paatu vaadiyar preceded by sarasara samarE in kuntalavarali also by T . Wondered why no one has ever sung this raminCUvArevarurA

For the first time i am hearing a vocalist singing (Rajkumar bharathi). A decade or so back when i googled i found one whistle artist performing SupOshini ragam of this eka krithi raminCUvArevarurA.

Sorry for the digress.

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Thyagaraja (Krithis)

Post by rajeshnat »

For bhavanuta you have put only MSG violin let me add manakkal rangarajan singing bhavanuta - mohanam - T . No one should ever miss manakkal singing mohanam bhavanuta

https://youtu.be/wmtVnqt21KM?t=715

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja ("rAga-panjaram" - the kritis of the tyAgarAjas "musical cage" )

Post by nAdopAsaka »

"rAga-panjaram" - the kritis of the tyAgarAjas "musical cage"

Only for the tyAgarAja is the deity the very rib-cage that protects his musical heart.

Why ?

Because the tyAgarAja is the only vAggeyakAra to employ the obscure rAga named "rAga-panjaram" in his pujA, and of course "panjaram" means cage.

This rarely-heard and barely- examined rAga, "rAga-panjaram" is the backdrop of not one, but two tyAgarAja kritis.

sArvabhauma sAkEta rAma

In "sArvabhauma sAkEta rAma", the tyAgarAja says that this rAma is the sArvabhauma = universal protector and is worshipped by both "pArvati ramana" = the Siva and by "ramA pati" = the viSnu and also called as the "dinabandhu parAt-para".

And therefore he is qualified to be the tyAgarAjas overlord as well.

Is there a better choice for this kriti than "rAga-panjaram" which symbolizes this all-encircling rib-cage that guards the heart and the soul, (the rAga) of the tyAgarAja ?!

varadA navanitASa

In "varadA navanitASa", the tyAgarAja says that the butter-loving viSnu (of kAnCipuram) is worshipped (nuta) by the "pura dahana" = the Siva and is also the protector of ageless devatAs as the "ajara-avana para".

Again , just like in the sArvabhauma kriti , this viSnu is qualified to be the tyAgarAjas overlord as well, the protecting rib-cage where nestles the heart/rAga of the tyAgarAja.

And once again there is no question the rAga-panjaram is the eminently suitable choice.

The textbooks suggest that the kriti "varadA navanitASa" of the tyAgarAja has connections to kAnCi, likely due to "varada" usage seen also in the "varadarAja" swarabhUSani kriti.

The Dikshitars "panjara" at kAnCi

Indeed at kAnCipuram there is additional background for the tyAgarAjas musical cage idea !

To fully comprehend this connection, one needs to first appreciate that at kAnCi, the Dikshitar refers to the mother goddess as the kanCadalAyadAkSi kAmAkSi who is "Siva panjara Suki"....like the parrot in Sivas cage., in the brilliant kamalAmanOhari kriti.

It is the only reference to the "panjara" word in the entire Dikshitar collection.

This kAnCi kAmAKSi goddess is also symbolic of the lakSmi form , particularly enunciated in the Dikshitar bilahari as "kAmAkSi varalakSmi kamalAkSi jayalakSmi"

Naturally the lakSmi form is considered as resident in the heart of hari, fully within his rib-cage.

So at kAnCi, the "Siva panjara Suki" and the "hari vakSa sthala lakSmi" become the goal of the tyAgarAja, like them, seeking protection for his musical soul in the lords cage , his own "rAga-panjara".

varadA navanitASa

vid. sugunA v
https://www.youtube.com/watch?v=I2Lgzm15ohg

shobhana v
https://www.youtube.com/watch?v=Dfd096EI-Nw

sArvabhaumA sAkEta rAma

s rAjam
https://www.youtube.com/watch?v=KDj0fA9tXKk

sikkil G.
https://www.youtube.com/watch?v=uV6UdM9Nq2k

arasi
Posts: 16774
Joined: 22 Jun 2006, 09:30

Re: Thyagaraja (Krithis)

Post by arasi »

NAdOpAsaka,
Thank you for caging us in the beauty of this rAga. Suguna VAradachari's varadA navanItASa captured me! Such a lovely song sung so well by her, with svarAs too.

kamalamanOhari song kanja dalAyadAkshi... until now, I had no idea it included the Lakshmi form too.
A question: are both kanja and kancha acceptable in singing it? kanja is lotus?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

thank you for the interest and also your appreciation of vid. sugunA V.

In my opinion, our music survives with the tireless devotion and humility of such individuals.

The kamalAmanOhari kriti (where the "Siva panjara" appears ) by itself does not invoke the lakSmi.

As I noted in post # 517, it is the "kAmAkSi varalakSmi" bilahari which identifies the lakSmi aspect and also preserves the very "panjara" noticed by the tyAgarAjas inner eye.

Indeed, the Dikshitar, in his infinite wisdom, uses the rAga bila-hari (the cave (=cage = bila) of hari) to express the viSnu-lakSmi legend linked inextricably to the kAmAkSi of kAnCi.

Here too the same cage motif is "trapped".

I believe it should be phonetically kan-ja i.e. lotus

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (the tyAgarAjas 2 other kritis at kAnCipuram)

Post by nAdopAsaka »

the tyAgarAjas 2 other kritis at kAnCipuram

post # 517 "opened" the panjara/cage door at hastagiri-kAmakOti.

It becomes imperative for the nAda-upAsaka to step through.

This post is about the other two kritis (i.e. besides the rAga-panjaram) of the tyAgarAja at kAnCipuram.

Given that the rAga-panjaram choice is thoroughly explained by the "cage" motif, it is relevant to ask whether the other two kritis by the tyAgarAja at kAnCi, also have similar firm explanation/basis.

Gloriously, the vAggeyakAra once again sends his message to a grateful nAda-upAsaka, through the sea of svaras and the cacophony of kutcheris.

varadarAja ninnu kOri in the rAga svarabhUSani

The varadarAja of kAnCipuram is worshipped by the tyAgarAja as the "shining moon" in the heaven of ageless stars "nir-jar-ulanu tAra-kamulalO Candru-dai merayaduvaTa".

"svara' is the synonym for this heavenly firmament (e.g. svara-gangA is the classical name for the milky-way galaxy, svara-lOka etc. etc.) and bhUSana is, of course, shining adornment.

There is no question the rAga choice as svara-bhUSanI is made for this viSnu due to this "svara-bhUSana" moon visualized by the tyAgarAja at hastagiri/kAnCi.

vinAyakuni valEnu brOva in the rAga madhyamAvati

In this terrific madhyamAvati, the tyAgarAja wants the same protection as the kAnCi kAmAkSi gives her own son the ganapati. Picking the elephant headed icon of the goddess (her son) is a fine contrast to the gajEndra mOkSa legend of the viSnu as well as the elephant shape of the hasta/hasti hill at kAnCi.

But the kAmAkSi goddess here is unique for another important reason.

She gives the power of speech to the dumb.

As the tyAgarAja says in the kriti, she is "girAlu mUku-niki rA jEsi".

No less an authority than the Dikshitar says of the kAnCi kAmAkSi in "EkAmrESa nAyakim" , the CAmara kriti , that she is "mUka mukhya vAk pradAyini".

The word "madhyama/madhyamA" is itself one of the four-fold forms of speech. (described for e.g. as "parAdi Cat-vAri vAg-Atmakam" where the four are parA, pashyanti, madhyama and vaikhari).

And "vata" = "vada" of course is speech.

Once again, there is complete certainty that this rAga choice madhyamAvati
(derived from madhyamA + vata) for "vinAyakuni valEnu", is being made by the tyAgarAja precisely to worship the speech granting goddess at kAnCI.

It only remains to complete the pujA by invoking the varadarAja with svarabhUSAni and the kAmAkSi with madhyamAvati.

varadarAja ninnu kOri - svarabhUSani

TVS
https://www.youtube.com/watch?v=SWsMnJcBkZE

vinAyakuni valEnu - madhyamAvati

MSS (with a nice introductory viruttam)
https://www.youtube.com/watch?v=oFy6l38jXj0

MDR
https://www.youtube.com/watch?v=miBT1LrysNs

kadri G
https://www.youtube.com/watch?v=XeqrJ5AmDvk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Faith versus Fate, the tyAgarAjas dipaka)

Post by nAdopAsaka »

Faith versus Fate, the tyAgarAjas dipaka

Only the tyAgarAja offers the dipakam of faith as the only antidote against fate.

For the nAda-upAsaka, there is absolutely no doubt that the tyAgarAja picks the rAga “dipaka” DELIBERATELY for the kriti “kala-la nErCinA”.

Why ?

Because the word “kala” implies all three of the following

[1] the arts (as in the 64 arts, aravainAlugu kala)

[2] fate/destiny (as in kali-giyuntE)

AND

[3] a ray of light, such as from a lamp used in an arCanA

The gist of “kalala nErCinA” is that even a livelihood based on the 64 arts is useless and futile for saving those whose ill-fate is already preset, unless they are redeemed by faith, symbolized by “dipaka arCanA”.

Lamps for “dipaka arCanA” also use sesame oil (tila) , so the reference made to the singari legend (the nuvvu hill) later in the kriti is also perfectly aligned with the starting idea of the kriti.

But wait..there is more…

dipaka is also a synonym for the kAma-deva (dip-aka also implies inflaming = exciting).

Noticeably the dipaka rAga is a janya of the kAma-vardhani mEla.

When thinking of kAma-vardhani (mEla 51) janyas, naturally the Dikshitar is also in the vicinity !

Why ?

Because his own kAma-vardhani janya (i.e. kumudakriya) masterpiece ardhanAriSwaram is also about lighting a lamp !

THE MIDNIGHT pujA ardhayAma alankAra is described in the kriti.

Post # 483 of the Mutthuswamy Dikshitar thread discussed the "ardha-nAriSwaram" kriti and the Dikshitar’s “rite of the nite”.

In 200 years neither rAga (dipaka or kumudakriya) has seen (or needed ) any other insight.

kalala nErCinA - rAga dipaka

GNB
https://www.youtube.com/watch?v=5Jc81XjOHsQ

flute prapanCam S
https://www.youtube.com/watch?v=l9nTaXkZLFM

BMK
https://www.youtube.com/watch?v=Y6d29tf5YGs

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Cakra-vAka - the bird and the bird-call)

Post by nAdopAsaka »

Cakra-vAka - the bird and the bird-call

Only the tyAgarAja recognizes the CakravAka for the bird-sound that it is.

Why ?

Because in EtulA brOtuvO, it is the “karna kathOra” (= harsh to the ears) story of his life.

As the V. rAghavan “Spiritual Heritage” classic textbook translates this line of the kriti, “a despicable record of the tyAgarAjas sins, detestable to the ear”.

Of course the Cakra-vAka is the goose whose squawking- honking sound can be considered rather unpleasant.

Further, the other widely heard kriti “sugunamu-lE Ceppu konti” , can also be thought of as the unworthy quality (= “without su-guna” = su-guna-lE) of the tyAgarAjas own voice = his “Ceppu”, which echoes the harsh quality of the Cakra-vAka sound.

v. rAghavan’s book translates this idea differently.. giving the meaning of “sugunamul-ay Ceppu konti” as that song of the tyAgarAja who is capable of only singing the lords good name, (ignoring all other pious acts like bathing and religious studies).

But in this regard too, the bird-call’s stamp on the tyAgarAja imagination is undeniable !

Why ?

Because now it is the tyAgarAja calling the lord like the Cakra-vAka bird calls its soulmate in the "wilderness".

And then the nAda-upAsaka realizes that it is the sound of sincere anxiety which has turned the desperation of each call into the magic of music for the intended audience, the bird and the lord.

EtulA brotuvO

sangita swAminAthan
https://www.youtube.com/watch?v=VBcn-lJcmMg

toronto bros.
https://www.youtube.com/watch?v=_KVotQGL_Fw

veena e Sankar SaStri
https://www.youtube.com/watch?v=6YcUXzQLkS0


sugunamulE Ceppukonti

MSS
https://www.youtube.com/watch?v=dTAdckCQj3I

veena jayanti
https://www.youtube.com/watch?v=7BntRmWsGyI

violin T harihara Subr
https://www.youtube.com/watch?v=DDxbT_zeXXo

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis) The “jingle” of the jingalA - a Fathers-day song

Post by nAdopAsaka »

The “jingle” of the jingalA - a Fathers-day song..

Only the tyAgarAja thinks of an orphan = anAtha = abandonment with his kriti in the sprightly rAga jingalA !

jinga-lA , (the word) , derives from the word “Sinja” which means tinkle or jingle.

Why is the tyAgarAja associating “abandonment” with this otherwise pleasant tinkling sound ?!

Because a bell is rung when babies are abandoned, (perhaps as one final gesture of caring)

Indeed the very deity whose name itself signifies parenthood (the ay-appA) was abandoned as a baby but with a bell tied around his neck (the so-called mani-kantha).

In “anAthudanu gAnu”, the tyAgarAja proclaims he is no orphan, instead he cheekily suspects the lord of being one !

The racy, peppy nature of the kriti shows that the tyAgarAja is unconcerned with any estrangement from his own birth family (those corrupt shawl-gatherers )….he only cares that he is not destitute in the lords eyes.

Most readers of these threads are either without parents and/or grandparents , or soon-to-be without parents and/or grand-parents.

On this Fathers day, at least for the nAda-upAsaka, the tyAgarAjas message of the supreme parent, delivered as this tinkling jingalA, is reassuring,

anAthudanu gAnu – rAga jingalA

amruta V
https://www.youtube.com/watch?v=1h0HEFgV1e0

violin a kanyAkumAri
https://www.youtube.com/watch?v=C0QD3Z_cxHo

mandolin srinivas
https://www.youtube.com/watch?v=TFA8nQ-NOp8

arasi
Posts: 16774
Joined: 22 Jun 2006, 09:30

Re: Thyagaraja (Krithis)

Post by arasi »

Thank you, Nadopasaka. Amrutha's mellifluous voice with its joy brings out the beauty of Tyagaraja's abandon in this song. Nothing of abandonment here! How he rejoices that with Sri Rama's grace, he would never be an orphan. The two exceptional instrumentalists add to the festive mood.

Yes, Happy Fathers Day to all! Yes, thanks to all father figures and the rest. Interestingly, a nephew sent wishes to me this morning saying that we mothers are nurturers too and needed to be wished, while children in our family are greeted by their kids on Fathers day. Yes, no one needs to feel abandoned on special days like these...:)

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis) The dESya rAga “hamir kalyAni” and the dESya word “hamir”

Post by nAdopAsaka »

The dESya rAga “hamir kalyAni” and the dESya word “hamir”

Only for the tyAgarAja does the dESya rAga word “hamir” symbolize not just a prince, but a prince’s haughty arrogance and aloofness !

Why ?

Because in BOTH “mAnamu lEdA” and “ni dAsa nu dAsu dani”, the essential theme is the tyAgarAja venting his bitter frustration at being ignored by the uncaring lord, who is full of this “princely arrogance”.

And hamir = amir = amira is of course the arabic word for prince.

Nothing could be more “dESya” (= foreign) than this word !

Background – the Dikshitars hamir kalyAnis

The ingenuity of the vAggeyakAras is vividly on display when they handle the so-called dESya rAgas, (i.e. those rAgas which are thought to “originate” outside the typical “milieu” of the kAvEri delta).

Post # 549 of the Mutthuswamy Dikshitar thread reveals the intense connection between the choice of this dESya rAga for the divya-dESa of the parimala ranganAtha kSEtra at the moon-lit tiru-induluri.

The reference “nara varada dAmOdaram” , is to the role of the krSnA avatAr of the viSnu here as giving boons etc. (= kalyAna) to the hamira = the prince of the mahAbhArata = arjunA. Indeed sometimes the word “nara” itself is equated to arjunA from parsing of the word “nArAyana”..

Apart from the rather obvious dESya rAga and divya-dESa connection, another dESya link to the word “hamira” lies in the “mira” legend , she being the prime devotee of the giridhara gOpAla = krSnA, to which idea the Dikshitar would have been inevitably exposed while at varanAsi..

Similarly in the Dikshitars “purahara nandana”, the skanda (who is ALSO an iconic kumAra ! = prince = hamira) is exalted as victorious (aham-vIra) over enemies (“ripukula bhanjana”) simultaneously as he is benevolent (kalyAna) as the “karunAmrta rasa sAgara”.

Here the rAga mudra is being delivered by the “meaning of the lyric”.

The reference to the crescent-moon on the skanda in this kriti (“tarunAmrta kara SEkhara”) is also related to the night-time asAvEri kriti kumArasWaminam in the vaithiSwaram/mAyavaram region quite close to tiru-induluri. Notice too that hamir kalyAn is a rAtri prahara rAga.

So much for influence of the dESya word on the Dikshitars choices for his hamir kalyAni kritis.

This is the tyAgarAja thread, so we must turn to his 2 offerings.

Upon which the nAda-upAsaka reaches the following inescapable conclusion !

Both kritis can be seen as summarising the arrogant dismissive tone adopted by such dESya princes/kings , the hamir !, in their dealings with commoners.

Indeed the hostility of the tyAgarAja’s accusatory tone is at an all-time high in the language of both these kritis.

“mAnamu lEdA” (as translated by v. rAghavan/c. rAmanujaCAri in the Spiritual Heritage textbook) taunts the lord as “without self-respect”, “with no care for his devotees” and “who is unprecedented in his lack of attachment” = gAna-mu-rA nivalE nir-mOhini.

Similarly in the almost palindromic “ni-dA-sa-nu-dA-su-da-ni” , the textbook translates this as the tyAgarAja bemoaning the uselessness of being the servant of the servants the lord who is also devoid of any sweet words “ruCira vAka poyyE”.

Harsh words indeed !

But the quarrel between the nAda-yOgi and the lord is short-lived.

Because upon hearing the kritis , the nAda-upAsaka realizes that each has forgiven the other !

ni dAsanu-dAsudani hamir kalyAni

vid r. vEdavalli
https://www.youtube.com/watch?v=Y4oXi0pPuqE

tiger V
https://www.youtube.com/watch?v=GyZJ8cuaQ7c

mAnamu lEdA hamir kalyAni

rAmnAd K
https://www.youtube.com/watch?v=z7BCGvYlr-g

MSG (who lets his gAyaki style do the talking)
https://www.youtube.com/watch?v=LVLi-PF4160

priya sisters
https://www.youtube.com/watch?v=isaU7TPsfKk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (kAntAmani – the desired path – Another “message-in-a-bottle” from the tyAgarAja)

Post by nAdopAsaka »

kAntAmani – the desired path – Another “message-in-a-bottle” from the tyAgarAja

Only the tyAgarAja recognizes the true meaning of the word kAntAmani and then reflects it in not one but two kritis in this rarely heard rAga.

Why ?

Because the word “kAnta” means desired and the word “amani” means path… which leads to kAntAmani = the desired path

In “E dAri sanCarinturA”, the tyAgaraja seeks clarity on which “marga” = dAri, to follow (advaita or dvaita).

And in “pAlintuvO pAlimpavO”, the tyAgarAja says the mArga/direction given to him by the principal dESika (the eternal teacher/traveller = nArada) described as “paramArtha-magu nija-mArga-munu, paripurna-magu bhakti-mArga-mE”, is this shining desired path.

Regarding the kriti “E dAri sanCarinturA”….kAnTAmani vs. Srutiranjani

In the last few years a so-called niSAdantya version of the 61st mEla rAga kAntAmani (called Srutiranjani) has been applied to this kriti.

However, the reliable compendium of C. rAmAnujaCAri, collected over the decades prior to 1950 (as described in the introduction by the esteemed Sri rAghAvan) and published in 1958 with the title “The Spiritual Heritage of tyAgarAja”, gives the mEla rAga kAntAmani for the kriti E dAri sanCarinturA (NOT Srutiranjani).

Other reputable compilations also give the kriti as being in kAntAmani.

Srutiranjani appears to be a modern concoction of recent years, artificially superposed on this kriti, by unknown miscreants.

The logic of the discussion above (as in many recent posts) shows that the vAggeyakAras do stamp their kritis with all manner of “mudras”.

Indeed, these signatures are like “watermarks” that protect the vAggeyakAra and his sAdhana from the foolish and the criminal who would tamper with the truth of their kritis and realizations and those who would deny them their penance and their vows.

The “music” and kriti was constructed by a sAdhu, here quite literally the king of sacrifice = the tyAga-rAja with specific ideas in mind. The music is about pujA (the swaras involved are secondary).

In this case it is the search for a unique marga/path, the kAntAmani.

The kriti does NOT submit to any other coherent interpretation that could explain any other rAga.

The nAda-yOgis heartfelt pujA has not been lost in the wind created by generations of vidwAns and musicologists.

The message-in-a-bottle, cast into the ocean of nAda two centuries ago, has reached a grateful nAda-upAsaka.


E dAri sanCarinturA - rAga kAntAmani

BMK
https://www.youtube.com/watch?v=EWy8qA-9MsU

m sudhAkar
https://www.youtube.com/watch?v=yAB_uRf-YTY

pAlintuvO pAlimpavO - rAga kAntAmani

mallAdi bros.
https://www.youtube.com/watch?v=HNggVpXr0f8

TSkalyAnarAman
https://www.youtube.com/watch?v=m2uDuP7TNFQ

veena jayanti
https://www.youtube.com/watch?v=Gp5P6VUo1wM

KKishore
Posts: 91
Joined: 31 Aug 2021, 07:19

Re: Thyagaraja (Krithis)

Post by KKishore »

@nAdopAsaka In connection with above post#526 on 61st mela Kanthamani are there any St.Thyagaraja compositions on any of janya ragams of it ? Long back when reading a blogpost of one Sr Veena artist I came across some janya names like DhivyaDhorini, Preyasi,Bhamamani of this mela, so asking. Not sure if at all any composition exist on these rare? ones.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

KKishore, I do not believe there are mEla 61 janya kritis by the tyAgarAja.

He does have "lilAgAnu jUCu" in divyamani (the 48th mEla).

Your question is a good one.

janyas in vivAdi mElas, such as # 61, likely exist now (or under the garb of fusion experiments) and could include the names you note.

Modern kritis in these should be expected.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (guru-purnimA in the tyAgarAja pujA, the tOdi and the supradipa to the “SatakOti bhAskara” skanda)

Post by nAdopAsaka »

guru-purnimA in the tyAgarAja pujA, the tOdi and the supradipa to the “SatakOti bhAskara” skanda

Only the tyAgarAja worships the skanda guru with both rAgas tOdi and su-pradipa.

On the occasion of guru-purnimA , the role of skanda as the guru of SivA must be reflected on.

What better way to do this than through the vision of the vAggeyakAras !

In the Dikshitars tOdi “Sri subramanyO mAm rakSatu” set in tiruCEndUr, skanda = subrahmanyA is “SiSta Siti-kantha” , the Teacher of his own (blue-necked) father.

Post # 669 of the Dikshitar thread shows how tiruCEndur is the second of the 6 ArupAdai skanda kSEtras in the Dikshitars composite pujA. The shameless notation-mongers of the SSP etc. and other foolish musicologists/academicians have attempted to deny the composite nature of the pujA of the Dikshitar to his preferred devatA at each of these 6 unified kSEtras. The laws of Hindu karma have foretold their failure. Untold woe unto all of these criminals.

This is the tyAgarAja thread , so why the reference to the Dikshitar tOdi ?

Because the tyAgarAja ALSO honors the skanda/murugA with a kriti in tOdi “nivanti daivamu SadAnana”.

Why tOdi.. it can be asked?

Because tOdi derives from the word “tOdah” which in the scripture refers to the sun and its invigorative driving influence.

And without doubt the skanda as Guru is emblematic of the blazing inspiring sun, indeed he is “SatakOti bhAskara shobhAkara” in the Dikshitar tOdi…shining with the brilliance of a thousand suns..

But the tyAgarAja goes further (and therefore on guru-purnimA so must the nAda-upAsaka)

Why ?

Because the tyAgarAja also worships the skanda guru with “varaSikhi vAhana” in .… what else !..the rAga that itself means light ! = supradipa.

Not surprisingly, supradipa is a janya of the mEla 17 surya-kAntam and close to..saurAStra.

Once again the Sun is the undeniable motif for the Son as Teacher/Guru !

On this guru-purnimA , the nAda-upAsaka bathes again in the fountain of the vAggeyakAras teachings.

varaSikhi vAhana – rAga supradipa

KNRS
https://www.youtube.com/watch?v=vvxX9YdIAR8

alamElu mani
https://www.youtube.com/watch?v=gfRL0bfyha4

nivanti daivamu – rAga tOdi

Hyd bros.
https://www.youtube.com/watch?v=Uj5SFJlzpPM

mallAdi bros
https://www.youtube.com/watch?v=WCQn_K-dJB4

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (kaikA-vaSi – kaikEyi’s “wish” and “vACAm-agOCaramE = the indescribable greatness of lord rAma )

Post by nAdopAsaka »

kaikA-vaSi – kaikEyi’s “wish” and “vACAm-agOCaramE = the indescribable greatness of lord rAma

Only the tyAgarAja recognizes kaikEyi’s spell on daSaratha , (the kaikEyi-vaSa !) as a key element of the rAmAyana and therefore of the lords exploits.

And the lords exploits are so wondrous, that they leave the tyAgarAja speechless , as he himself says “vACAm- agOCaramE” = unreachable by words..

Can there be any doubt that rAga kaikAvaSi is EXACTLY & DELIBERATELY CHOSEN by the tyAgarAja to depict this aspect of the lord ?

For it is kaikA-vaSi , the “wish of kaikEyi” that leads to daSaratha being forced to keep his oaths and abdicate his throne and to the banishment of lord rAma to the jungle !

And in the “jungle” the lords arrow severs mutiple asurA’s and is also recalled in mid-flight , as the kriti says.

Although the tyAgarAja says he is at a loss for words, his music does all the “talking”..

vACAm-agOCaramE - rAga kaikA-vaSi

vid. prasanna V
https://www.youtube.com/watch?v=r7Ggmp3Gy08

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (AndOlikA – the AndOlanam/tremble of the tyAgarAjas joy)

Post by nAdopAsaka »

AndOlikA – the tremble of the tyAgarAjas joy

Once again, the rAga word meaning is inextricable from the tyAgarAjas song !

Why ?

Because only the tyAgarAja chooses the rAga AndOlikA for his own AndOlanam (trembling) as he receives the nectar of nAda-upAsana..

And the fruit of his “yAga yOga tyAga bhOga” is “nAda-OmkArasvara sadASiva”

There can be no doubt… “rAga sudhA rasa pAna” is AndOlikA and AndOlikA is “rAga sudhA rasa pAna”

rAga sudhA rasa pAna – rAga AndOlikA

GNB
https://www.youtube.com/watch?v=8vqgtNKQ4yg

mandolin SrinivAs
https://www.youtube.com/watch?v=JGnn17DFN48

violin KSG
https://www.youtube.com/watch?v=g36nWHxerG0

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (“Sri ganapati ni”, prahlAda, and the vinAyaka at kAnCi – the tyAgarAjas dancing ganapati)

Post by nAdopAsaka »

“Sri ganapati ni”, prahlAda, and the vinAyaka at kAnCi – the tyAgarAjas dancing ganapati

On the occasion of ganESa Caturthi upcoming soon, it is relevant to think of “Sri ganapati ni sEvimparA rE”, which is, of course, the invocation prior to the “prahlAda bhakti vijayam

Post # 509 has discussed the choice of rAga made by the tyAgarAja for this kriti which is undeniably linked to the 8 syllable ( = saura-aSta) mantra , aka the ganapati gAyatri mantra that is distinct from the conventional gAyatri mantra to the surya/savitur.

It is of interest to the nAda-upAsaka, whether any particular shrine caught the eye of the tyAgarAja for this kriti.

The tyAgarAja appears to give a clue to this question via another kriti..

The madhyamAvati to the kAnCi kAmAkSi, “vinAyakuni valEnu” which of course is to the goddess at kAnCi, refers to the vinAyaka. (see post # 520).

Therefore it is not unreasonable to link the tyAgarAjas “Sri ganapati ni” of the prahlAda nAtakam to kAnCi.

But there is additional basis for such a conclusion.

No less an authority than the Dikshitar ALSO makes a connection between the “parama bhAgavata prahlAda” pujA at SOlingur and kAnCi as seen in the mOhana “narasimha Agaccha”, where the “karigiri varada” of kAnCi is supposed to have wandered (vi-Cara) to SOlingur, some 50 km away. (see post # 765 of the Mutthuswamy Dikshitar thread)

As the Dikshitar says “su-ru-Ci-ra-ka-ri-gi-ri-va-ra-da-vi-Ca-ra-sa-ra”

There is however, another dominant theme to this particular ganapati, as portrayed by the tyAgarAja.

The ganapati is the epitome of a dancer, he is the nritta ganapati !

Why ?

From beginning to end “Sri ganapati ni” makes multiple references to this dance aspect, from the “bAga natimpu” to the “mahipai padam” thudding rhythmic footfalls , to the “hari-Carana” of his heart-beat, to the “ghallu ghallana” tinkling of bells and finally to the rare usage of the tillAna syllable “dhittAlangu”.

Why this focus by the tyAgarAja on ganapati as a dancer ?

Because yet another authority on BOTH kAnCi and the ganapati , the Adi Sankara, gives us the ganapati bhujanga stOtra which starts (eerily) with the words

ranatkSudra ghantA ninAdabhirAmam (the ganapati tinkles with bell sound =ghantA)
CalE tAndav Odandavat padma tAlam (the ganapati trembles to the beat of the tAndav nritya)

And once again the nAda-sampradAya shines brilliantly and the pujA has become complete.

Sri ganapati ni – rAga saurAStra

A nice dance version - harinie/srikAnth
https://www.youtube.com/watch?v=A-0SQ7Mgydk

MDR
https://www.youtube.com/watch?v=-92qljVfBj8

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (mandAra = the tree of paradise and the tyAgarAjas mandAri kriti)

Post by nAdopAsaka »

mandAra (the tree of paradise) and the tyAgarAjas mandAri kriti

Bludgeoned mercilessly for centuries by vidwAns in kutChEris and scholars in academies, the child of the union of vAggeyakAra and deity , has run for shelter behind the Mothers leg.

But the nAda-sampradAya cannot be denied.

Today again this wondrous child peeps out shyly and bestows its glance on an overjoyed nAda-upAsaka.

It cannot be overstated. The kritis of the vAggeyakAras are not mere packets of swaras for air-pressure variation exercises that they have been reduced to. They are a unique set of ideas and words fused into song that constitute a pujA and a message. It is the nAda-upAsakas duty to understand this message.

More than a score of posts in this thread on the tyAgarAjas kritis (and about a hundred posts on the Mutthuswamy Dikshitar thread ) have shown , for the first time in 200 years, the intimate, irrefutable connection between the rAga word and the very idea within the vAggeyakAras message and worship.

Which brings us to the tyAgarAjas kriti in rAga mandAri.

Only the tyAgarAja contrasts true paradise, “mandAra” with the fake, illusory paradise of those he calls “paralOka bhayamu lEka”.

Why ?

Because in the scripture, mandAra, is one of the classical Hindu trees of paradise, aka the “dEva-taru”.

And in “paralOka bhayamu lEka” the tyAgarAja condemns the illusory world of bought wives/women (konna kAntalu !), begotten/misbegotten children , elephants and gardens and other worldly possessions masquerading as this false “daiva lOka”, the fake paradise.

Can there be any doubt the rAga mandAri is chosen precisely to amplify this contrast, and to contemplate the choice ?

The rAga takes some of the edge off the harsh contempt within the tyAgarAjas words. (“konna kAntalu” is a rather strong attack on the customs and institution of Hindu marriage of his times)

It can be observed that whereas the Dikshitar has the terrific kumudakriyA kriti within mEla # 51, (i.e. the pantuvarAli mEla) the tyAgarAja has kritis in mandAri as well as dipakam, which also belong to mEla # 51.

Of course kumudakriyA as the night-opening flower = kumuda finds its expression in the "ardhanAriSwaram" ardhayAma midnight pujA/kriyA kriti of the Dikshitar, explained elsewhere.

And Post # 521 has shown how the tyAgarAja delivers the rAga dipakam , and the influence of “dipaka” on the ideas of that kriti (kalala nErCina).

Notably "mandAri" without the riSabha collapses to “amritavarSini” , (as if one needed to be reminded of the connection between “paradise” and amrita/nectar)

paralOka bhayamu – rAga mandAri

Hyd. Bros.
https://www.youtube.com/watch?v=aFdvXzKGRe0

rAmnAd K
https://www.youtube.com/watch?v=AMFx7eTZQw8

MSG
https://www.youtube.com/watch?v=A3Xz1uNHL58

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (the rAmakriyA rAma-nAma of "sAramEgAni" and the kAma-vadhana "Siva-Siva-Siva-yana")

Post by nAdopAsaka »

the rAmakriyA rAma-nAma of "sAramEgAni" and the kAma-vadhana "Siva-Siva-Siva-yana"

Only the tyAgarAja effortlessly elevates simple nAma-sankirtana to sacred communion.

And in doing so he reveals his sensitive understanding of the two alternate words for the name of the mEla 51 rAga .

Why ?

Because in sAramEgAni, the rAma-kriyA shines as “rAma nAma sAramEgAni”, when the last word of the anupallavi wraps around.

And in Siva-Siva-Siva-yana rAdA, the unmistakeable start of the first Carana “kAmA-dula dEga kOsi” names the Siva as destroyer of kAma, as in kAma-vadha-na.

To the nAda-upAsaka, these choices are not coincidences (although they mean nothing to the SSP etc. notation mongers).

The tools of worship versus the worship of the tools

The rAgas are tools in the tool-box of the singing sanyAsi, they are “pujA-sAmagri”. They are necessary but not sufficient in the vAggeyakAras worship. The tools are used to build the pujA.

On the other hand, vidwAns particularly the SSP etc. notation proponents, only worship the rAgas/scales. These “craftsmen” and “craftswomen” build nothing with these tools other than egos. Indeed, they methodically go up and down the scales, shining and polishing their tools even in public, pleasing themselves and their vacuous fans in vapid kutChEris, the Kafkaesque “darbArs” of the so-called sangita-sampradAya.

The vAggeyakAras were well aware of the arrogance of such scholars, and categorically rejected their “pAndityam”.

The tyAgarAja reminds us again that the only purpose of rAga (any rAga) is nAma-kirtana.

And both “sAramEgAni”and “Siva Siva Siva yana rAda” distill the essence of the two ancient nAma-mantras via mEla # 51.

sAramEgAni – rAga kASi-rAmakriyA

Shertalai KNRS
https://www.youtube.com/watch?v=1c30JxniR9U

Siva Siva Siva yana rAda – rAga kAmavardhani

Flute jayant

https://www.youtube.com/watch?v=yGG5Jzye

viSnupriya
https://www.youtube.com/watch?v=zJzXUt-obSM

mAtangi S
https://www.youtube.com/watch?v=8HAfX5jrpn0

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (vakulAbharanam, the flower adorning the fabled tree in the garden of spring = vAti-vasanta)

Post by nAdopAsaka »

vakulAbharanam, the flower adorning the fabled tree in the garden of spring = vAti-vasanta

Yes, it is true..all the vAggeyakAras agree..the mElA 14 vakulAbharanam aka vAti-vasanta bhairavi is the pujA flower rAga.

In ‘E rAmuni nammitinO’ the tyAgarAja asks “Which flower should he use to adorn which aspect of rAma (the slayer of kAkAsura, or vAli or vibhiSana’s brother ? ). As he says “E rAmuni nammitinO, nEn E pUla puja jEsitinO ?”

There cannot be even a shred of doubt that this kriti is written exactly with the idea of the vakula, the mythical tree that bears wondrous flowers and fruits.

Why ?

Because in the sundara kAnda (Chap. 5 of the rAmAyana, stanzas 12 and 43 ) , hanumAn searches for the sitA dEvi in the aSOka grove, which has the fabled Campaka and vakula trees.

Observe that the word vasanta also appears as does vAti and aSOka !

diSah sarva abhidAvantam vrikSa sanda gatam kapim |
drstvA sarvAni bhutAni vasanta iti menire || 5-14-12
aSOka vAtikA Ca iyam dridham ramyA durAtmanah |
Campakaih Candanaih Ca api vakula-ih Ca vibhUSita || 5-14-43

It is no coincidence that the tyAgarAja says also …:EkAntamuna siT-a-SOka-OrCi jO-gOtta “
Embedding the word "aSOka" in the style of the Dikshitar.

Case closed !

In “sAdhu tadA”, for the mahArAja it is the emblem of SridAma = sudAma = kuCEla receiving the blessing of krSnA , after their time together under this tree (as told in the kuCElOpAkhyAna).

This is the story of the famous “darSana” granted to kuCEla in the forest.

As he says “sAdhu tadA nija bhAmini sapadi da-darSa vimOhini”…..Upon his return home the sAdhu kuCEla sees the new prosperity of his wife as the result of his devotion.

In “prasanna venkatESwaram” the Dikshitar takes a 30000 foot view as if from an aircraft.

The Dikshitar sees not just one tree but the whole garden in full bloom at spring, the vasanta vAti !

Why ?

Because it takes the entire garden (vAti) of blooming flowers (during vasanta) to produce enough “rasa” to satisfy the “tanja-nagari venkatESwara” who the Dikshitar says is the pinnacle of “rasikAs” = the “rasika-SEkharam”.

Being at tanjAvUr it has to be a big garden, since this is the brhat-kSEtra , everything is huge there.

And of course all fear and horror cease in this garden as in “anta-bhairavi”

In fact both the tyAgarAjas “vasanta-bhairavi” kritis “ni daya rAda” and “ramA ramana bhAramA “ reflect exactly this idea of the end of fear and anxiety (the end of bhaya implied by bhairavi = bhaya-ravi)

The rAga "vAti vasanta bhairavi" may be asampurna but the Dikshitars pujA is sampurna, complete and fulfilling, just like the pujA of the tyAgarAja and the mahArAja..

The nAda-sampradAya marches on.

The vAggeyakAras words , meanings and pujA have not drowned in the swamp of swara-notations and the cacophony of crooning.

Let a thousand flowers bloom.

My vAggeyakAra has come home to me.

E rAmuni nammitinO – the tyAgarAja
Shenoy sisters
https://www.youtube.com/watch?v=s6YDyRuScoI
rAji G
https://www.youtube.com/watch?v=9gJ2DjostbE

sAdhu tadA – the mahArAja
sanjay S
https://www.youtube.com/watch?v=gdFKQ6Xyjhs
sankaranarayanan v
https://www.youtube.com/watch?v=zAdW4HAcr-g

prasanna venkatESwaram – the Dikshitar
OST
https://www.youtube.com/watch?v=fbzyxmcTX7A
purnima r
https://www.youtube.com/watch?v=fUzNi7IbEYU

ni daya rAda – the tyAgarAja vasanta-bhairavi
NCV
https://www.youtube.com/watch?v=ySD21caBzb4
veena gAyatri
https://www.youtube.com/watch?v=iHizG1th5hs

ramA ramana bhArama – the tyAgarAja vasanta-bhairavi
sankaranarayanan v
https://www.youtube.com/watch?v=HGWyy8CiFUA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The anu-rAga of the anu-Stubha dEvi = saraswati)

Post by nAdopAsaka »

The anu-rAga of the anu-Stubha dEvi !

On the auspicious start of the SAradA navarAtri, the nAda-upAsaka revels again in the wisdom of the vAggeyakAra.

Only the tyAgarAja offers the rAga saraswati to the deity of “su-gyAnam” = true knowledge, as his devotion = anurAga.

For he says succinctly “anurAgamu lEni, manasuna su-gyAnamu rAdu

But the reference to the great goddess of knowledge is not just via the rAga choice or the first line pointer to the anu-Stubha (Canda) gAyatri dEvi.

Why ?

Because he goes on to say that it is the knowledge of “sa-guna dhyAna” that is the real anurAga.

As the goddess of speech, “Sri saraswati” is also Sabda-brahman, the essence of sa-guna dhyAna !

Could one even think that as potent a rAga word name as saraswati could escape this specific pujA to the vAgdEvi in the hands of the supreme sAdhu devotee ? Impossible !

For the nAda-upAsaka, it seems only proper to offer this kriti in different forms of sound.

anurAgamu lEni – rAga saraswati

DKP
https://www.youtube.com/watch?v=YyIErkb0zG8

TVS
https://www.youtube.com/watch?v=Akm-vY2pIbw

veena jayanti
https://www.youtube.com/watch?v=uFmU-c0sL_A

flute KSG
https://www.youtube.com/watch?v=9z_S_3EoPck

MSG
https://www.youtube.com/watch?v=V75iy_8Wy7Q

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The kEsari varna kEsari vAhana dEvi and the mahiSAsura marddinI nArAyani )

Post by nAdopAsaka »

The kEsari varna kEsari vAhana dEvi and the mahiSAsura marddinI nArAyani

For the nAda-upAsaka, there can only be good in taking the names of the dEvi, on this the second day of the dEvi navarAtri pujA.

Only the tyAgarAja chooses the rAga kEsari for the golden colored goddess = kEsari varna , who is also kEsari vAhana , = riding the golden maned lion.

In “nannu kanna talli", the tyAgarAja sees the panCanada dharmAmbikA dEvi as kanakAngi (golden).

And for him the dEvi is also the kAtyAyani and the nArAyani !

The Dikshitar agrees with his own kriti "mahiSAsura mardini" in rAga nArAyani.

Why ?

Because he also calls the dEvi “kankanAlaNkRta” and “kAtyAyanIm' and "nArAyaNIm”.

nannu kanna talli – rAga kEsari of the tyAgarAja

MSS
https://www.youtube.com/watch?v=dbHI6T1YHoA

BMK
https://www.youtube.com/watch?v=fwZ0i1tcxiw

mahiSAsura mardini – rAga nArAyani of the Dikshitar

A nice rendering of the nArAyani kriti is available at time marker 1.57.35 by

Vid bhArati r
https://www.youtube.com/watch?v=VSJQu83vIIw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (lalitE Sri pravriddhE – the tyAgarAjas nuanced nAma-kirtana and “name-taking” )

Post by nAdopAsaka »

lalitE Sri pravriddhE – the tyAgarAjas nuanced nAma-kirtana and “name-taking”

It would be highly improper not to invoke the name lalitA in the week of the navarAtri pujA.

Therefore, on the 3rd day of the navarAtri pujA, “lalitE Sri pravriddhE” is the ever-expanding goddess who fulfills the pujA and the upAsaka..

The utterances of the sacred Hindu vAggeyakAras are rarely random (if ever) and their teaching is also in the choices they make.

lalitE Sri pravriddhE is no exception.

The choice of rAga bhairavi is not random because lAlgudi = Sri tapastirtha puri is considered as the bhairavi-vana.

But the far, far more interesting feature of this kriti is in the choice of name = pra-vriddhE !

Why ?

To comprehend this some background is needed.

The name “pra-vriddha”, derives from the lalitA triSati name “labdha vriddhE” as well as the lalitA sahasranAma, where she is “vriddha”.

In his wonderful “cheekiness”, the tyAgarAja is trying to remind the “infinite” deity that taking care of the tyAgarAja should be childs play..i.e. perhaps she is not as complete as her name (vriddha) suggests because she has seemingly neglected him !

The use of a name (pravriddha) that intersects with the sahasranAma and the triSati is of some merit.

In his last stanza, the tyAgarAja reveals that although he is already receiving the grace of the lalitAs brother i.e. Sri rAma, he still desires the goddess to complete the blessing..

mik anna dayaku pAtrudanE, tinnaga Saranu jOCittinE, tyAgarAja mAnasa sadanE .

The lalitA triSati is the additional 300 names that the scripture indicates were spoken by hayagriva to agastya at the behest of the dEvi herself, to complete the fullness of her name.

In this context, the rAga lalitA choice of the famous “sitamma mAyamma” kriti , incorrectly rendered by legions over decades in the rAga vasanta , has been discussed in post # 497 of this thread.

For the tyAgarAja and the nAda-upAsaka (and all nAma-upAsakas), the exalted name lalitA for the supreme goddess is worthy of such deliberation, during the navarAtri pujA and every moment before and after it !

lalitE Sri pravriddhE in rAga bhairavi

violin chinmayi
https://www.youtube.com/watch?v=xV64JW2xHXU

sugandha kAlamEgham
https://www.youtube.com/watch?v=KLy4x7DGHFA

OST
https://www.youtube.com/watch?v=CQcBoAzQeSs

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The tyAgarAjas Thursday tirtha to the tiruvOtriyUr tripurasundari temple )

Post by nAdopAsaka »

The tyAgarAjas Thursday tirtha to the tiruvOtriyUr tripurasundari temple

The auspicious name “tripurasundari” MUST also be heard in the week of the navarAtri.

For the nAda-upAsaka, it is as potent as “lalitA”.

Who better than the tyAgarAja to hear it from !

For this fourth day of the navarAtri pujA, his “dArini telusukOnti” in rAga Suddha sAvEri is the ideal kriti.

Why ?

Because “dArini telusukOnti” is the guru-vAra = Thursday kriti of the 5 tiruvOtriyUr panCa ratna kritis to the tripurasundari which are actually a panCa-vAra set of 5 , with one kriti for each day of the week.

The details have been given in post # 510 for each of the 5 vAra kritis.

(In this regard, the 5 Srirangam kSEtra kritis follow the panCa-bhUta pujA, each kriti being linked to a distinct bhUta = element for BOTH the tyAgarAja and the Dikshitar ! shown on these threads previously )

Why is “dArini telusukOnti” the Thursday pujA to the beautiful mother goddess tripurasundari ?

Firstly because the tyAgarAja says so himself !

He embeds the word "guru-ni vAsara sEva" in the last Caranam.

It comes in the well-known line "“rajita maNigaNa bhUSaNi mada gajarAja gamani lOka shankari danuja rAja guruni vAsara sEva

vAsara is a synonym for vAra…both mean the day of the week.

It can be noted that the kalyAni kriti “sundari ni divya rupamu” also carries the overt “Sukra-vAra sEva” phrase as the Friday mudra.

tripurasundari as trijagadiSwari

The exalted name “ambA trijagadiSwari” also appears in the first Carana of this kriti for the transcendent goddess.

Of course this word from this Carana has NEVER been heard in any kutChEri and will never be heard.

Why ?

Because it is standard practice to only sing one of the stanzas as vidwAns have to save stage-time for their own “crooning”.

The guru-vAra mudra is not the only sign of the tyAgarAjas Thursday intent.

Why ?

Because the tyAgarAja also reveals his Thursday tirtha with his rAga choice. There is no harm in repeating details from post # 510 pertaining to the guru-vAra.

the basis for the Suddha sAvEri rAga choice
guru or brihaspati is "brahmA-jAta" and therefore , like brahmA's consort saraswati = sAvEri (which derives from sAvitri), representative also of learning and wisdom. brihaspati is also "parAdi-cAtvAri vAk swarupa" , of the form of four-fold speech (para-vAk etc. etc.), as seen also in the "brihaspatE" graha kriti of the Dikshitar. brihaspati is therefore the deity of speech or vAk, which is controlled by the throat Cakra = viSuddha Cakra ! The Cakra nature of the tripurasundari at tiruvOtriyUr = Adipuri is also noted by the Dikshitar in his sAma kriti "tripurasundari" as "tripurAdi CakrESwari". Post # 747 of the Mutthuswamy Dikshitar thread gives those details.

So invoking the viSuddha is entirely in alignment wiith the kSEtra. There is only one rAga , iconic of guru-vAra, that is at once reflective of "vi-Suddha" and also of sAvEri...namely Suddha sAvEri.

dArini telusukOnti - rAga Suddha sAvEri

violin usha r
https://www.youtube.com/watch?v=K6xa8NDneHo

MDR
https://www.youtube.com/watch?v=Frnv7Nm186U

flute jayanth
https://www.youtube.com/watch?v=XBrRimLrjv4

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Tyagaraja (“vidhi Sakra” Sukra-vAra sEvA –the dharmasamvardhani darSana kriti where “yamunA” plus “kalyAni” = kAvEri)

Post by nAdopAsaka »

“vidhi Sakra” Sukra-vAra sEvA – the dharmasamvardhani darSana kriti where “yamunA” plus “kalyAni” = kAvEri

On the fifth day (= Friday) of the navarAtri pujA, the timeless classic “vidhi SakrAdulaku” is the natural choice.

Why ?

Because the tyAgarAja himself offers it as “Sukra-vAra sEvA” !

He says so in the second stanza …”:SrngAri koluvu-yunDu Sukra vAra-pu”.

Of course, being in the second stanza, these words will NEVER be heard in any kutChEri. That lip-service is reserved only for the panCaratnas.

As a darSana kriti “vidhi SakrAdulaku” shares several words with another “darSana” kriti, the “kanugontini” bilahari.

The difference of course, is that the deity in the minds-eye of the great sAdhu, is now the goddess, instead of the lord rAma.

In fact the Srirangam kSEtra and the tiruvaiyAru kSEtra are connected by the river kAvEri and by the tyAgarAjas devotion to all three deities viSnu, Siva and the goddess.

Why is the rAga yamunA kalyAni chosen for a kSEtra (the panCanada) which is linked indelibly to the kAvEri ?

The search for the answer to this question reveals the wondrous thinking of the vAggeyakAra !

Indeed, as the river kAvEri flows from Srirangam to the panCanada kSEtra, the tyAgarAja himself acknowledges the proximity/tension between the Srirangam viSnu and the panCanadiSa Siva !

He says so in the kAvEri-specific asAvEri kriti “SAri vedalina”.…

“vEdukagA kOkilalu mrOyaganu vEduCu rangESuni jUci mari
IrEDu jagamulaku jIvanamaina mUDu reNDu nadi nAthuni jUDa”

The same river which he sees as the yamunA = consort of viSnu at Srirangam becomes the kalyAni , the consort of the Siva at panCanada.

The number 14 and Sakra
It is of some interest that the word “Sakra” used very rarely in the kritis for the deity Indra, also means the number 14.
And this 14 is the “CaturdaSa bhuvana” reference also seen as the word “iRedu jagamulaku” in the asAvEri kriti = the “padi-nAlugu lOka” of the “gyAnamOsagarAda”.

The usage “mudu rendu” for 2+3 = 5 for panCa nadi is also notable.

The "river" and the vAggeyakAra

In the pantuvarAli of the naukA Caritram “CudarE”, the tyAgarAja sings of the yamunA dEvi nestling languorously in the lap of the celestial cowherd krSnA.

And when it flows into panCanada, it becomes the gauri-kalyAni = half of the Siva, half of the ardhanAri.

Indeed in his akhanda kAvEri set (post # 718 of the Mutthuswamy Dikshitar thread) the Dikshitar also sees the “indivisible” river representing the union of the goddess with Siva, just like at the ganges at kASi.

For the vAggeyakaras, the river is both Mother and Consort.

And in the Hindu imagination it becomes the eternal river of sound, light and truth which is the nAda-sampradAya.

Today, on the Sukra-vAra of the navarAtri, the nAda-upAsaka does the snAnam in this “river”.

vidhi SakrAdulaku – rAga yamunA kalyAni

prasanna v
https://www.youtube.com/watch?v=e_AW_bQQjf8

TKG
https://www.youtube.com/watch?v=hdnm49xQgEI

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (SivE pAhimAm – Sani and dharmasamvardhani – the Saturday connection)

Post by nAdopAsaka »

SivE pAhimAm – Sani and dharmasamvardhani – the Saturday connection

The 6th day of the navarAtri pujA, coincides with Sani-vAra = Saturday.

For the nAda-upAsaka , the rAga kalyAni kriti “SivE pAhimAm” is linked to Sani-vAra.

Why ?

Some background is needed.

In this kriti the panCanada dharmasamvardhani has ascended to the exalted name SivE.

SivE means she is of Siva, she is with Siva, she has all the attributes of Siva, for example his iconic forehead moon.

And therefore tyAgarAja says in the second (also unheard) stanza, that she is

kala-artham idi SaSi kalA dhari”.

The tyAgarAja is asking the crescent-moon bearing SivE for “kal Artham”, literally to pause for a moment’s grace. (kala being a unit measure of time)

But the vAggeyakAras are not looking for material comforts.

As the tyAgarAja says in the kriti it is the “Subha-phala” he wants from the kalyAni dEvi. = the freedom from the cycle of birth and death.

Other than Siva and the dEvi as SivE , the most iconic deity who is regarded as having this capability is …Sani !

No less an authority than the Dikshitar calls Sani as “kAla-Cakra-bhEda”, he who can pause the kAla Cakra …and who is therefore also the “kAmitArtha-phalada-kAmadhenu” (noted in the Dikshitars Sani graha kriti “diwAkara tanujam” to Saturn)

“SivE pAhimAmbikE Srta phaladAyaki” on Sani-vAra is a fitting 6th day navarAtri pujA

SivE pAhimAmbikE Srta phaladAyaki rAga kalyAni

KVN
https://www.youtube.com/watch?v=-AO6jKzG7QE

NCV
https://www.youtube.com/watch?v=9u-wmo0fdZc

bombay sisters
https://www.youtube.com/watch?v=s9NBEq4YD6c

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

Re: Thyagaraja (Krithis)

Post by RSR »

M S Subbulakshmi - Swara Raga Sudha - Sankarabharanam
upload by Balagirish J
https://youtu.be/ZWZAN8X2Ct4
------------------------
Pallavi
swara rāga sudhā rasa yuta bhakti
swargāpavargamurā ō manasā

O Mind! Devotion, together with the nectarine juice of Svara and Raga, is indeed heaven and also emancipation!

Anupallavi
paramānandamanē kamalamupai
baka bhēkamu1 celagiyēmi ō manasā
O Mind! Of what avail if a crane or a frog enjoys
on the Lotus called Supreme Bliss?


Charanam
.
mūlādhāraja2 nādameruguṭē
mudamagu mōkṣamurā
kōlāhala3 sapta swara gṛhamula4
gurutē mōkṣamurā ō manasā

Knowing the Nada emanating from Muladhara is,
indeed, blissful emancipation; O My Mind!
Recognising the locations (in the body) of the grand seven Swaras
is indeed emancipation.

==========================================
is there any charanam with the following meaning in that kruthi?

@nAdopAsaka
ji,
மத்தளத்தின் தாள நடைகளறியாமலே
(மத்தளத்தினை) அடித்தல் சுகமா?
தூய உள்ளமின்றி வழிபாடு செய்தல்
பன்றியொழுக்கமடா, ஏ மனமே!
சுர, ராக அமுதச் சாறு கூடின பக்தி---------------------------------------------
வானுலகமும், மோக்கமுமாகுமடா, ஏ மனமே!

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (gati-nivani Sri pravriddhE & gata-mAyikE kamalAmbikE – two tOdis for the dEvi on surya-vAra)

Post by nAdopAsaka »

gati-nivani Sri pravriddhE & gata-mAyikE kamalAmbikE – two tOdis for the dEvi on surya-vAra

For the 7th day of the navarAtri pujA, the sapta-riSiSwara shrine (= Sri tapastirtha = lAlgudi) is proper. And so is the (sapta) vitanka sthala tiruvArUr.

But since it is also a surya-vAra = Sunday, today, for the nAda-upAsaka, the natural dEvi kritis are, of course, the two tOdis where she is “gati nivani” and “gata-mAyikE”

Why ?

Because the word “tOdi’ derives from the word “tOdah” which in the scripture refers to the Sun and its invigorative driving influence.

And the Sun controls all movement and motion = gait = gati = life….. The Sun makes time itself and it makes the day…it dispels darkness/illusion, as “dina-kara

The tyAgarAja only needs 2 words “gati nivani” (and the rAga) to complete the analogy of the transcendent dEvi to this all-nurturing Sun.

The Dikshitar agrees !

Why ?

Because he also calls the dEvi “sundari gata-mAyikE” in his own famous tOdi dhyAna kriti "kamalAmbikE ASrita" as he begins the great journey through the kamalAmbA navAvarana.

(tiruvAruR is one of the sapta-vitanka sthalas....purely for the purposes of this post it is assumed as the seventh)

Again and again, upon glimpsing their purpose and their intent, the nAda-upAsaka revels in the gift of the vAggeyakAras.

gati nivani – the tyAgarAja tOdi

LGJ
https://www.youtube.com/watch?v=BpB-kG6zeds

the nAda-upAsaka meets all sincere efforts such as these next two, more than half-way

Veena shrivats
https://www.youtube.com/watch?v=CmymPrf1yYg

prashAnt n r
https://www.youtube.com/watch?v=HVGNw2cgErg

kamalAmbikE Asrita – the Dikshitar tOdi dhyAna kriti

MSS
https://www.youtube.com/watch?v=WvahV-P4afY

pudukodu Krishnamurthy
https://www.youtube.com/watch?v=tvZSu36fd1o

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (The dEvi as SankarAbharana = swara rAga sudhA)

Post by nAdopAsaka »

The dEvi herself as SankarAbharana, the adornment of Siva

Although the tyAgarAja does not have a specific dEvi kriti in rAga SankarAbharanam, swara rAga sudha is a good approximation.

Why ?

Because in it the tyAgarAja makes the statement that "swarArnava" itself was given by Siva to the goddess...

”rajata giriSudu nagaja-ku delpu swarArnava”.

RSR's question (post # 542) helps highlight this wondrous kriti during the navarAtri. ..…

The “swara rAga sudhA” kriti indeed has additional stanzas including the reference to the mridanga as maddala.

swara rAga sudha rAga SankarAbharanam

A less known contemporary of MSS !

mAnikkam
https://www.youtube.com/watch?v=f_f4b6vd5Rg

flute ramani
https://www.youtube.com/watch?v=dSopAG_8LxI

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (bAlEndu to purnaCandrikA to sudhAkara vadana-jita, faces of the dEvi in sOma-vAra pujA)

Post by nAdopAsaka »

the faces of dEvi - from crescent moon to full moon to eclipsed moon = bAlEndu to purnaCandrikA to sudhAkara vadana-jita

The 8th day of the navarAtri pujA coincides with sOma-vAra = Monday.

No navarAtri pujA of the phases of the dEvi can be complete without contemplation of the light of the moon in the dark of the night = rAtri.

The mighty vision of the vAggeyakAras gives the whole picture.

In “bAlE bAlEndu bhUSani”, the crescent moon-bearing dharmAmbikA dEvi shines as the "illuminator of the path" (= way = riti ), naturally set by the tyAgarAja in the obvious rAga riti-gaulA.

The crescent moon then waxes to the full moon.

For this the Dikshitar shows how to take the other hugely auspicious name of the goddess..”Sri rAja rAjESwari tripurasundari” in what else …rAga “purna-CandrikA” . Indeed in this kriti he also says “SivE pAhimAm varadE”, echoing the kalyAni of post # 541.

And then the full moon is surpassed/eclipsed by the pravriddha Srimati of tapastirtha !

Why ?

Because in “mahita pravriddha” the anupallavi begins as “pAhi vadana jita sudhA-karE”

Naturally kAmbhOji is the proper rAga for this moon-consuming goddess !

Why ?

Because kAma is described in the Siva purAna rudra samhita’s sati khanda as “purnaCandra nibhAnana”.." he with the full moon face, who is accompanied by fragrant wind and SrngAra"

pUrṇaCandra nibhAnanaḥ , sugandhi mAruto SrngAra rasa sEvitaḥ

The nAda-upAsakas cup (huge as it is) still overflows.

bAlE bAlEndu bhUSani - rAga ritigaulA

rAmnAd K
https://www.youtube.com/watch?v=mLTZDy4oACU

padma gurudutt
https://www.youtube.com/watch?v=5_uWAZr1r-4

SrI rAjarAjEshwari tripurasundari – the Dikshitar kriti in rAga purnaCandrikA

a raghurAm
https://www.youtube.com/watch?v=wZa2HriDLHg

A maitreyi
https://www.youtube.com/watch?v=KhB4ppk8GfQ

mahita pravriddha – rAga kAmbOji

LGJ
https://www.youtube.com/watch?v=OcMwy2xaQ7s

sankari K
https://www.youtube.com/watch?v=ioRub0QWK6k

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (the bE-gala/kambu-gala dEvi = the man-gala-vAra dEvi bEgada kritis )

Post by nAdopAsaka »

the bE-gala/kambu-gala dEvi = the man-gala-vAra dEvi bEgada kritis

The 9th day of the navarAtri pujA being mangala-vAra = Tuesday, it is natural to contemplate the iconic neck of the goddess.

Why ?

Because while Mars (the bhUmi kumAra = Tuesday) and the goddess (in one version) are BOTH ku-ja, = born of the earth, the epithet “mangalam kambugalam” ALSO applies to both.

Indeed as “man-gala” the neck of the goddess is an ancient attribute, celebrated in scripture and sculpture.

The “mangala” neck is even noted by the Adi Sankara in the SoundaryaLahari in a stanza that has relevance in particular for music !!

For he says in stanza 69

galE rEkhAs tisrO gati gamaka gita aika nipuṇE
vivAha vyAnaddha praguna guṇa sankhyA pratibhuvah
virAjantE nAnA vidha madhura rAgAkara bhuvAṃ
trayAṇAṃ grAmAṇAm sthiti niyama simAna iva tE

A translation of sorts is …”the three lines on the dEvis neck signify gati, gamaka and gita. She acquired these lines when the mangala-sutra was tied around her neck by Siva. Even the three grAma’s (Sadja, madhyama and gAndhAra) are located in this neck !! “

Other classical works also note the dEvis jewel bedecked neck as “manI-gala

And of course , “nila-mani” which is the blue jewel, also reminds us of the nila-kantha, her consort.

All the vAggeyakAras are naturally sensitive to these meanings of the word “man-gala”

Sri mAtah Siva

The Dikshitar gives us “Sri mAtah Siva vAmAnkE” where the jambukESwaram goddess is “kambu-kandya-akhilAndESwari", with the exquisite neck also giving the rAga mudra “bE-gala jita SankhE”.

The Dikshitar is grimly tongue-in-cheek…the goddess is NOT just a pretty face or neck (bEgalE).

She is also “bhagalE” , the skull-bearing, wrath-filled deity, in keeping with the durgA pujA theme.

In fact the shameless SSP distortionists are finding this version of the vengeful deity on their way to a fiery end, e.g. post # 786 etc. on the Mutthuswamy Dikshitar thread.

“sundari nannindarilO”.

The tyAgarAja gives us “sundari nannindarilO” the Tuesday bEgada kriti of the tiruvOtriyUr panCa-vAra set (post # 510).

The “tripurasundari” also reflects the balance between the cozy “sundari” and the angry “tripura hArini”, the destroyer of the three cities/three illusions etc.

She too is completely unforgiving of sinners and distortionists and other arrogant self-appointed notation-mongering “pundits” ..as “Adipura vihAri, duSkarma viDAri !...

kAmAkSi nAto vAda

For the nAda-upAsaka, it is highly improper not to invoke the word “kAmAkSi” during the navarAtri. This is now corrected by none other than SyAmA SAStri with his bEgada “kAmAkSi nAto vAda”

Summary

And so the nine day/nine night navarAtri pujA approaches its full completion in the 10th day vijaya-daSami.

The nAda-sampradAya cannot be defiled by the untruthful.

This year the untruth/ful will indeed be burned in effigy and in reality.

sundari nannindarilO – the tyAgarAja tiruvOtriyUr Tuesday bEgada kriti

NCV
https://www.youtube.com/watch?v=kQckjnssSgc

BMK
https://www.youtube.com/watch?v=rXEbvc55_nU

T S ramA
https://www.youtube.com/watch?v=yk3Ggo6iBw4

Sri mAtah Siva vAmankE – the Dikshitar bEgada

veena kalpagam S
https://www.youtube.com/watch?v=1gsxnJ6f-Xc

tiruvEngadu jayarAman
https://www.youtube.com/watch?v=zkHXJDydzRI

kAmAkSi nAto vAda – SyAmA SAStri bEgada

vijay Siva
https://www.youtube.com/watch?v=n3T9dlsLrxw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (durgA , daSami, daSa mahAvidyA parA-Sakti and the budha-vAra mAtangi)

Post by nAdopAsaka »

durgA , daSami, daSa mahAvidyA parA-Sakti and the budha-vAra mAtangi

On the daSami (the 10th day following the navarAtri), the goddess is fully announced. Obviously, the vAggeyakAras take note of this occasion. And because of that, so does the nAda-upAsaka.

Today the goddess is durgA.

All her enemies (the aforementioned untruthful ! ) are burning to ashes.

But nowhere is she addressed directly as “durgA” by the tyAgarAja !

Even the Dikshitar has only one kriti with a direct call to this auspicious name .

But that one kriti suffices for todays 10th day pujA.

“Sri dum durgE” in rAga Sri-ranjani is at the kanaka-durgA shrine in vijayawAda where the Sri-Cakra was installed by the Adi Sankara (see post # 758 and # 754 of the Mutthuswamy Dikshitar thread on this kriti).

Today the goddess is also “parA-Sakti”.

Unlike “durgA”, this powerful name does not escape the tyAgarAja, in "parASakti manuparAdha"

In her blazing form as the supreme Sakti, the goddess is “of savitr”, of solar origin, sAvitri etc.

Naturally the rAga had to be sAvEri !

The parASakti dEvi consolidates the daSa mahAvidyAs.

And so the nAda-upAsaka , on the daSami (the tenth day) today also invokes one of the ten mahAvidyAs, the name mAtangi,

Why mAtangi specifically ?

Because today is budha-vAra, and budha = Mercury is the presiding graha for the mAtangi mahAvidyA.

In addition, the Dikshitar kriti “mAtangi marakatAngi” is to the madurai minAkSi, so the pujA of the last 10 days, does not leave out this important shrine.

Indeed, notice that as “marakatAngi”, the green emerald is also the green color associated with the budha-graha.

In fact the Dikshitar gives the name “budha-hitE” to this deity in this kriti, noting the connection.

The basis for the Dikshitars rAga choice of dhauta-panCama for mAtangi.

dhauta derives from dhAtu. And dhAtu means fundamental element which is also “bhUta”.

In the “Sri minAkSi gauri” kriti in rAga gauri, the Dikshitar refers to the panCa-bhUta aspect of the madurai minAkSi.

But that is only a necessary condition, NOT sufficient to explain the choice.

What is sufficient is now given…

In the tantra, mAtangi is specifically associated with saraswati, and so resides in the viSuddha Cakra i.e. the fifth Cakra.

So out of the 10 mahAvidyAs, ONLY mAtangi occupies the panCama Cakra and is also honored with the panCa-bhUtas = panCa dhAtus = dhauta panCama !

Is there a more appropriate rAga than “dhauta-panCama”, symbolizing all these aspects ?!

Absolutely not.

This vivAdi (# 69) mEla rAga (aka dhAtu-vardhani) kriti will also be discussed separately on the Mutthuswamy Dikshitar thread in upcoming posts there.

Once again, it is not the swaras or their combinations that are integral to the selection, it is the imagery associated with the name and lore of the deity and its icons, that is guding the choice.

This pujA began with the anurAga of the saraswati dEvI, (post # 536) who is the “Sabda brahman” that gives upAsana its saguna dhyAna.

10 days later it ends with the anurAga of her tAntric twin , the mAtangi.

The purpose and intent of the Hindu sAdhu-vAggeyakAras and the nAda-sampradAya is to exalt the deities, to take their names and to adorn them with the rAgas.

The nAda-upAsaka rejoices always in the wondrous gifts of the vAggeyakAras.

Sri dum durgE – rAga Sri ranjani

Sriram P & S mahati
https://www.youtube.com/watch?v=SD2d6ERJUM8

parASakti manuparAdha– the tyAgarAja sAvEri

a murali
https://www.youtube.com/watch?v=6l8hYFjFv8I

mAtangi marakatAngi – the Dikshitar dhauta-panCamam

violin dwAram durgAprasAd r
https://www.youtube.com/watch?v=mT7H6Hjr6qY

harini S
https://www.youtube.com/watch?v=Qyl02wVQ_v0

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re:Thyagaraja(kOvUr sundarESa panCaratna kritis -Their embedded panCabhUta mudras and their “Siva-synonym” rAga choices)

Post by nAdopAsaka »

kOvUr sundarESa panCaratna kritis - Their embedded panCabhUta mudras and their “Siva-synonym” rAga choices

This post is made to celebrate dipAvali/diwAli of 2022.

The kSEtra (or group) kritis of the tyAgarAja are not as extensive as the Dikshitar, but they are still revealing of the vAggeyakAras intent and strategy (which is much to the dismay of unimaginative musicologists and corrupt notation-mongers).

Post # 511 discovered the connection between the 5 rAga choices and the panCa bhUta (the 5 fundamental elements), made at Srirangam by the tyAgarAja.

In parallel, the Dikshitars Srirangam set of 5 kritis also has the same panCa bhUta feature (see post # 751 of the Mutthuswamy Dikshitar thread)

Along these lines, post # 510 of this thread revealed the panCa-vAra basis of the tyAgarAjas tiruvOtriyUr (Adipura) panCaratna…one for each day of the week , starting with Monday (sOma-vara) and culminating in the Friday Sukra-vAra sEva.

It will be shown in this post that the kOvUr set of 5 kritis to the sundarESa (Siva) also has the indelible mark of the panCa bhUta, one element for each one of the 5 kritis.

Before the panCa bhUta elements at kOvUr are spelt out, it is useful to observe that the tyAgarAja chooses the rAgas for this set based on rAga names that are strongly and unmistakeably connected to Siva.

The kOvUr sundarESA panCaratna rAga choices are based on names/traits of Siva

kOri sEvimparArEkara-hara-priya (obvious due to reference to hara)

sundarEshvaruni jUciSankarA-bharanam (again obvious)

SambhO mahAdEvakAmavardhani (for the Siva as kAma-dahana)

nammi vaccina kalyAni (here the word kalyAna is synonymous with the word "Sam" (sham) as giver of prosperity/welfare and Siva is Sam-bhu)

I vasudhASahAna (from the word sahana = endurance of the yOgi Siva)

The Dikshitar repeatedly uses the rAga SahAna as an icon for viSa-hana (the destruction of poison, where poison is emblem of disease/rOga) in his sarva rOga harana Cakra kritis of several navAvaranas.

Although there is a natural connection between poison and the Siva, it can be observed that the word “sahana” meaning endurance is also the mark of Siva the yOgi, particularly as tyAga-rAja.

The king of sacrifice is capable of enduring great sacrifice.

Naturally the SSP etc. and its proponents have tried to deny this renunciation of the vAggeyakAras because it is a standard they cannot meet. They have tried to malign the singing sAdhus precisely on this issue, while their own shawl-gathering and pathetic kritis-for-profit effort is well documented. Verily have they been fully exposed !

The nAda-upAsaka thoroughly despises all these criminals. They are beneath contempt but not beyond being cursed.

The embedded mudras for the panCa bhUta (elements) at kOvUr

kOri sEvimparArE – the water element rAga karaharapriya

The key word is Siru from Siri/Sira (which means the boon of prosperity/fortune)

"Sirulittunani koluvai unDu shrI saundarya nAyikA varuni shrI tyAgarAja varaduni paramAtmuni haruni"

No less an authority than the Dikshitar states in the yamunA kalyAni “jambupatE” (the water bhUtam kriti)

"jambupatE mAm pAhi nijAnanda amrita bOdham"
Siva is the giver of amrita.

The equivalence of amrita/nectar with sustaining liquid i.e. water/milk is known in the scripture.

The significance of “a-mrita” also applies to Siva who is considered as hara = the destroyer of yama.

It is this varada /boon (Sira) which is the amrita that signifies the water element.

rAga karaharapriya choice for the water element derives phonetically from the word “karaka” which is a vessel for water.

I vasudhA nIvaNTi daivamu- agnI element rAga SahAna

For agnI , the tyAgarAja uses the synonym tEja (which carries the additional meaning of prakASa).

As he says
tEjamunu nosagi bhuvanamandu kIrti galgajEyu

Note that the Dikshitar also uses “aprAkrta tEjOmaya linga” for the arunACala agni linga kSEtra.

Notably the word “ahanA” which means light of dawn is the phonetic link between the rAga choice SahAna and the tEja/jyOti element.

sundarESvaruni jUci – vAyu = anila rAga SankarAbharanam

The word anila itself appears in the last line, as part of the word meaning the residence of Siva.

"rAja SEkharuni gOpuranilayuni rAjasa guNa rahituni SrI tyAgarAja pUjituni rajata giRiSuni"

Naturally.. One breathes where one resides.. i.e. residence itself carries the meaning of “breathing in” as in prAna.. The vAyu bhUta is also the life breath element.

rAga SankarAbharanam choice relates to ornamentation, especially the body via necklaces and garlands, etc. that adorn the neck. The neck/throat is where the control of vAyu/breathing occurs.

SambhO mahAdEva – prithvi rAga kAmavardhani

The prithvi element is given by the word “dharanI” as shown, from the concluding line of this famous kriti

"parama dayAkara mrgadhara hara gangAdhara dharaNI-dhara bhUSaNa tyAgarAja vara hrdaya"

rAga kAmavardhani choice for the bhu or prithvi element derives from kAma who is the son of bhUmi dEvi.

nammi vaccina – AkASa or ether rAga kalyAni

This is the most interesting mudra.

AkASa/gagana represents the ether element.

It is associated with the sense of hearing (= the tanmAtra of AkASa)

Sabda/sound is this sense, since sound requires the ether.

The scripture itself is often described as Sruti , that which is “heard”.

The tyAgarAja uniquely gives the reference to the vEda in the Carana of this kriti

vEda purANAgama SAStrAdulu”

There can be no question this is intended as the mudra for the ether element, in the context of the other 4 mudras.

Since kalyAnam is blessing always received from heavenly deities residing in the sky, the choice of rAga kalyAni for the AkASa or gagana element is accurate.

In the spirit of dipAvali, the nAda-upAsaka celebrates the triumph of light over darkness , and of truth over corrupt untruth.

kOri sEvimparArE – rAga kharaharapriya

MDR
https://www.youtube.com/watch?v=LovtnmrzpcA

sundarEshvaruni jUci – rAga SankarAbharanam

ranjani gAyatri
https://www.youtube.com/watch?v=Q1XP91-nYS4

ramesh
https://www.youtube.com/watch?v=UBYQ44wwPCs

SambhO mahAdEva – rAga kAmavardhani

MSS
https://www.youtube.com/watch?v=uWJSDOHFDYQ

bharat sundar
https://www.youtube.com/watch?v=xBWJLDbhtvg

I vasudhA – rAga SahAna

amruta V
https://www.youtube.com/watch?v=IwnGWtqE4ZQ

GNB
https://www.youtube.com/watch?v=Ax_ohVudgkM

nammi vaccina – rAga kalyAni

KBMK
https://www.youtube.com/watch?v=tMadkwXbyjA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (“namas tulasi kalyAni” - The tulasi kritis and the tyAgarAjas “balancing” act)

Post by nAdopAsaka »

“namas tulasi kalyAni” - The tulasi kritis and the tyAgarAjas “balancing” act

tulasi in the Hindu imagination is the icon for the goddess who has “no equal” because she "cannot be weighed”, deriving from the negation of the word for the balance “tula”, as in tula-si.

Only the tyAgarAja sees that the idea of this unmatched tulasi is but a figure of speech for the greatness of the goddess.

Why ?

Because she is clearly balanced by the lord viSnu himself. And this vision of the tyAgarAja gives the nAda-upAsaka the 6 incredible tulasi kritis… 4 addressing the goddess and 2 to the lord.

The 6 kritis appear in 3 pairs, as if each pair is symbolizing the pair of leaves that the basil plant itself brings forth as it grows !

The two mAyAmAlavagaula’s “dEvi Sri tulasamma” to the goddess and “tulasi dala mula CE” to the lord are a foregone choice for the rAga.

Why ?

Because the rAga mAyAmAlavagaula itself is a shining example of balance and symmetry.

Next, the reposeful sAvEri "tulasi jagatjanani" and the dEvagAndhAri “Sri tulasamma mAyinta” are the “arCana” kritis, , one for the morning lamp-lighting and the other for the celestial singers (the dEva gandharva) welcoming the deity. In fact the tyAgarAja gives the mudra for rAga dEvagAndhari in the phrase “sura taruNulu” in the never-heard second Carana !

Did one think that this essential Hindu arCana pujA could escape the notice of this hugely sensitive vAggeyakAra ? Impossible.

And then there is “amma rAvamma” !

The Call to Mother

Is it possible to imagine the magnitude of the dEvis simultaneous joy and anxiety when she is called on the one hand by the tyAgarAja with “amma rAvamma” and on the other by the Dikshitar with “ambA nilAyatAkSi” ?

And in that heavenly nest, where the ever compassionate mother bird carefully feeds both her imploring chicks, each vAggeyakAras upturned mouth is filled to the brim with “candy”.

The kritis of the nAda-sampradAya are always only “received”.

Only a fool (or worse) can insist that the kritis are artificially constructed by a plodding technician or “tunesmith” or a notation-monger, adding and subtracting swaras, like a king in his counting-house, counting-out-his-money.

Naturally at least one tulasi kriti of the tyAgarAja is in rAga kalyAni, since the famous tulasi stOtra of the sage pundarika uses the words “namas tulasi kalyAni”.

At first it is easy to think that perhaps there can be no match for the “tulasamma” of this wondrous kalyAni kriti.

But the tyAgarAja knows differently and teaches differently.

Because in the kEdAragaula “tulasi bilwa”, he offers the goddess herself (as the tulasi leaf) in the arCana to the lord viSnu.

Interestingly the word kEdAra-gaula represents both “bilwa and tulasi”, when the common representations of these prayer-leaves (bilwa for Siva and tulasi for gauri/lakSmi) are noted. And it can also be observed that the name hari-kEdAragaula is the so-called parent scale.

Is there a kSEtra for the tulasi group kritis of the tyAgarAja ?

Indeed no specific kSEtra is known or even needed for the tulasi kritis.

Because everywhere the tulasi grows and is used as arCana becomes this kSEtra..this is the vAggeyakAras gift to the nAda-upAsaka.

tulasi dala mula CE – rAga mAyAmAlavagaula

Hyd bros.
https://www.youtube.com/watch?v=vJw9m3LldYo

dEvi Sri tulasamma – rAga mAyAmAlavagaula

Sruti bhat
https://www.youtube.com/watch?v=T8lCUu5jCT8

tulasi jagat janani – rAga sAvEri

bombay jayaSri
https://www.youtube.com/watch?v=N5wFM_JlOU0

Sri tulasamma mAyinta – rAga dEvagAndhAri

rAmnAd K
https://www.youtube.com/watch?v=7HUX1g6p_Ug

amma rAvamma – rAga kalyAni

ranjani-gAyatri
https://www.youtube.com/watch?v=BATzxa0_zlk

TVS
https://www.youtube.com/watch?v=tHWraHTgXvk

tulasi bilwa – rAga kEdAragaula

veena jayanti
https://www.youtube.com/watch?v=ccWhRK2H4_0

the two students of tiger varadACAri

MDR
https://www.youtube.com/watch?v=YfgZUVO5zBE

SRJ
https://www.youtube.com/watch?v=pPdPH7Mndlk

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

Re: Thyagaraja (Krithis)

Post by RSR »

" Tulasi emerged as a beautiful nymph shortly after Lakshmi did, during the churning of the ocean by the Devas and the Rakshasas. She too desired to marry Vishnu, but Lakshmi in order to prevent this, converted her into a plant. The ever compassionate Lord immediately ordained that Tulasi would henceforth be used for His worship."
----------------------------------------------------------------
https://sriramv.com/2010/03/18/tulasi
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A sublime version of the story.
--
sriram adds
Tyagaraja (1767-1847) has probably left behind the largest corpus of songs in praise of Tulasi.
-
Among these amma Ravamma (Kalyani, Jhampa) is perhaps the most popular. The lines “tamarasa dala netri, tyagarajuni mitri” are ideal for neraval and swara singing and have been used for ragam tanam pallavi suites as well, as demonstrated once in a chamber concert by Sanjay Subrahmanyan and P Unnikrishnan several years ago.
-
Tulasi Jagajjanani (Saveri, Rupakam) was a favourite of Semmangudi Srinivasa Iyer’s and his elaborate treatment of the song in his Music Academy concert of 1967 (Tyagaraja’s bi-centenary) stands out. This song describes the greatness of Tulasi and states that the root of the Tulasi is like Vaikunta (the abode of Vishnu) for all rivers, while the stalk is the abode of the Gods and the tip is where the Vedas and the scriptures reside.
-
Tulasi Dalamulache (Mayamalavagaula, Adi) is really not so much on Tulasi as it is on the worship of the Lord. But it will remain forever associated with MD Ramanathan.
-
Another song in this category is Tulasi Bilva (Kedara Gaula, Adi) which again describes the worship of the Lord with several flowers. The Alathoor Brothers made it their own.
-
Coming back to songs on Tulasi, Tyagaraja gave us two more,
Devi Sri Tulasamma (Mayamalavagaula, Adi)
and
Sritulasamma (Devagandhari, Adi),.
========================================
RSR adds

The lyrics by Thyagaraja Swami, do not make any explicit reference to puranic-filth , hardly befitting the Lord.--(vishnu impersonating as vrunda's husband and making her unchaste- so that the asura - her husband- can be vanquished by siva).

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