An evening with Saint Thyagaraja

It was a rainy weekend but that didn’t deter the music aficionados in Chennai from congregating at Chettinadu Auditorium to hear and enjoy the gems of Thyagaraja. Among Thyagaraja’s compositions the Utsava Sampradaya Krithis stay on the top, like the crown jewel. He composed these songs describing the rituals(inviting/invocation, oonjal, nalangu, mangalam, haarthi, lullaby) that he performs during his daily worship from sunrise to sunset (rain or shine) and some during special festival worships like Rama Navami. Thyagaraja sang these for only Rama and Sita. Though these songs are sung in weddings today and many at times Rama and Sita are replaced with bride and groom’s name.

The curator for the gem show was none other than Sowmya (a befitting choice) and the performers were the finalist from Jaya TV’s Carnatic Music Idol 2010, Brinda Manikavasagam, Sri Ranjani Santhanagopalan (daughter of Neyveli Santhanagopalan and Bavya (daughter of TV Soundaravalli). Well Thyagaraja doesn’t need any brand ambassadors for presenting his krithis, but one needs the right curator to explain the musical nuances of the krithis and present the right interpretation of the lyrics.

There are 27 such songs that deal with various rituals associated with the traditional models of devotion (pooja vidhi). Musically, Utsava Sampradaya Krithis can be divided into two kinds, Ekadhatu and Dwidhatu. In Ekadhatu, the pallav) and the following stanzas (charanam) have the same tune. In Dwidhatu they are structured differently. All these songs have, generally, simplicity as the key-note enabling all the devotees present with little or no musical training to join in chorus. Finally these are songs that help spread the joy not only of music but of serving and singing the praise of the Supreme Being. All these krithis are set in old and traditional ragas.

Sowmya and her team presented 14 of the 27 songs.

1.Heccharikaga – Yadukula Kamboji – Invocation song -Swagatham is extended to Rama as he enters the darbar to bless his devotees. Thyagaraja asks Rama to walk slowly to the Darbar. It is more of upacharam than a mere invite. He describes his radiance and extols his gunas and virtues. Each line of the pallavi and the charanams end in a very rhythmic fashion. Yadukula Kamboji is very old and traditional raga and Sangam literature refers to this as “Sevvazhi pan”. It is not an easy raga to pick up and detail and requires lot of mettle. The composition is sung with utmost love, devotion and bakthi.

2.Pavanajastuthi – Kurunji –Oonjal song. This beautiful krithi announces the wedding of Rama and Sita. The 6 Charanams beautifully describe the virtues and beauty of Rama, while the pallavi makes up to Sita by singing “Seetha kalyana vaibhogamey”. Again every charanam is set rhythemically. Ex: Charithraa and Gaatra, Jaala and Paala, Kaama and Dhaama, etc. Kurunji is yet another old raga born in the mountains. The gait, amplitude, swing, twist, pull, stretch in the raga is beautiful brought out in the lyrics. Same song is popularly sung in Sankarabharanam.

3.Nagumomu – Madhyamavathi – Nalangu song. Thyagaraja uses superlatives to describe Rama’s qualities - Devadi devuuni, divya sundaruuni, etc. Pallavi and charanams end with “uuni”. Again he glorifies his qualities attributing it to Sita –Janaki varuni, Seetha raghavuni.

4.Napaali Srirama – Navaroz –Nalangu song. In the first line of every charanam Thyagaraja extols Rama’s qualities and in the second line he asks Rama to show his feet so that he can apply the mixture of chunnambu and turmeric and pray for sharanagathi. Thyagaraja also shows that doing service to Rama’s feet (paadhasevanam) is the easiest way to find a place in his heart. In the last stanza he says, just like a pauper who finds happiness a pot of gold, I find happiness in you. Navaroz sounds similar to Kurunji and is yet another old raga. Kurunji stops with Ni in the lower octave, while Navaroz stops with Pa in the lower octave. Appar has sung a Thiruthandavam in this raga. Some sing this krithi in Sankarabharanam too.

5.Jayamangalam – Nadanamakriya – Mangalam for Nalangu. Rama and Sita are themselves victory (jayam) and prosperity (kalpakavruksha), why would they need victory and prosperity? By singing their qualities, beauty, radiance, lineage, etc. one can win life and death like how Gajendra and many other devotees.

6.Pathikihara – Surutti – Haarathi krithi. Thyagaraja address the Lord as Sita’s Rama and he calls upon the beautiful women to perform haarathi to Lord of the universe, lord of pure and soft speech with pride and without any delay.

7.Koluvayunnade – Devagandhari – Rama Durbar -Rama parivar adorns the throne and is surrounded by the celestial entourage – Sage Sanaka, Indira, Brahma, etc. Thyagaraja pictures himself as a servant rolling beetle leaves and offering it to the Lord while Sita is busy applying sandal paste on the Lord. What a way to enjoy the Lord! Devagandhari is a tricky raga to handle, especially with its twin Aarabhi, but if handled deftly it can be more fragrant than sandalwood. This kriti is faced paced among the lot and it set in madhyama kalam.

8.Shobaane – Pantuvarali – Salutations. with just 2 words Thyagaraja finishes the Pallavi of this krithi- Shobaane Shobaane – Salutations! Salutations. He salutes the Lord who quells the pride of Parasurama and who is ready to extinguish the fire of sin with rain of compassion for those who surrender.

9.Ksheerasagaravihara – Anandhabairavi –Oonjal. One of the rare krithis of Saint ThyagarAja in this raagam as a result of his pledge to an Archakar , who was an expert in rendering this raagam. This Anandabairavi krithi has a folk touch.

10.Uyyalalogavayaa – Neelambari – Oonjal - Invitation to the Lord to enjoy the swing set up in a gem- bedecked hall in front of all dEvAs). Yet another composition where he turns into a mother to get Rama to sleep. He has demonstrated the “Navavidha” bakthi in his krithis. Who can enjoy Rama more than Thyagaraja?

11.Laali Laalayya Laali - Kedaragowalai -oonjal Sevai in a special Mantapam and offering of Many UpachArams in a long krithi with 7 charaNams.

12.Rakshapettare – Bairavi – ward off the evil - Sri Thyagaraja sings utsava sampradaya song of an evening routine of warding off evil sight. It is a mother who usually wards off evil and protects her children and Thyagaraja takes the role of Rama’s mother. He calls upon Lakshmi to apply auspicious mark to ward off evil at dusk.

13.Pulapaanbu –Ahiri – Making the bed for Rama. Sowmya referred to this kriti in her presentation, but didn’t sing that evening. Here, Thyagaraja asks Rama to lie down on the bed of flowers he has to offer.

14.Jo Jo Rama – Ritigowali – Lullaby. Another motherly moment of Thyagaraja. He starts with praising the Lord’s birth dynasty and goes to enjoy the curly ringlets, his beautiful eyes (Surya, Chandra), his reclining posture on Sesha and requests him to fall asleep. The arohanam and avarohanam of Ritigowalai swings your heart back and forth and puts its to sleep.

15.Melukovaiyya– Bowli – Waking up of Rama. Thyagaraja requests the King of Suryakula to wake up. He requests Rama to hear the song of Narada and other sages and even tries to entice him fresh butter and milk. Finally he says the universe is waiting for you, so please wake up.

In many of the Utsava krithis you will find that Thyagaraja brings in Narada, Indira and Devas in the Krithis. Are these people close to Rama or to Thyagaraja or both? He narrates Surya and Chandra as Rama’s eyes.

Thyagaraja never had a star cast, glittery set up, and glamour to popularize his krithis. He sung these krithis cherishing the relationship he shared with the Lord, while employing simple, basic and traditional ragas and thalas in Carnatic music putting forward his love, devotion, bakthi for Rama. What Thyagaraja had sung during various sevas for his Ishtadevata was presented in 120 mins – clear, clean, and crisp. It was an evening with Thyagaraja’s Rama.

1. It was heartening to see Senior Musicians like Sowmya coming forward to share the knowledge and educate rasikas and upcoming musicians.
2. Sowmya is always a stickler when it comes to stage decorum, for once she allowed students to look at the lyrics while singing the krithis. Why Sowmya?
3. Students could have practiced more and sung with more perfection. We will excuse since it is a learning opportunity for them.
4. Pakkavadhyams played so well to the raga, mood, ritual and lyrics. They were never loud or trying to steal the thunder at any point of time.
Thyagaraja never had star cast, glitter, and glamour to popularize his krithis. He sung these krithis cherishing the relationship he shared with the Lord, while employing simple, basic and traditional ragas and thalas in Carnatic music to put forward his love, devotion, bakthi for Rama.Thyagaraja addresses Rama in many ways, as friend, God, father, son and master. Rama was his Kuladaivam (Resident-deity) and Kuladhanam (heirloom or legacy).

You can access Vidushi R. Vedavalli’s interpretation of Utsava Sampradaya Krithis.
1.http://www.mediafire.com/?w2qzat5mmkm Invocation and introduction
2.http://www.mediafire.com/?gwnnmnoywnc Sanskritslokam - Yadukulakambodhi
3.http://www.mediafire.com/?gmajuy1lzro Hecharika - Yadukulakambodhi
4.http://www.mediafire.com/?n2d2knoody2 Introduction
5.http://www.mediafire.com/?0rgwyrwdvzm Pavanaja - Kurinji
6.http://www.mediafire.com/?anyigchqnw5 Introduction
7.http://www.mediafire.com/?m2jjmmcnj0w Koluviyunnade - Devagaandhaari
8.http://www.mediafire.com/?4dzkytmmmr0 Introduction
9.http://www.mediafire.com/?ibbormmlzmw Nagumomu - Madhyamavathi
10.http://www.mediafire.com/?lthwghndjjy Introduction
11.http://www.mediafire.com/?z4d0zmi1nzz Naa paali shri raama - Navroj
12.http://www.mediafire.com/?znkmdaomztm Introduction
13.http://www.mediafire.com/?cdcnnuacxyu Jayamangalam - Naadanaamakriyaa
14.http://www.mediafire.com/?2rrkynnnf5t Introduction
15.http://www.mediafire.com/?kt3i2g0wmmz Pathiki haarathi - Surutti
16.http://www.mediafire.com/?az5znwzhvnv Pathiki mangala - Aarabhi
17.http://www.mediafire.com/?qwzcotyduxy Introduction
18.http://www.mediafire.com/?0yoywi5htdf Shobane - Panthuvaraali
19.http://www.mediafire.com/?zimk44mozcy Introduction
20.http://www.mediafire.com/?m1wwzzddozg Ksheera saagara - Aanandhabairavi
21.http://www.mediafire.com/?yde4zyiz3fd Introduction
22.http://www.mediafire.com/?kqojoj0tzyw Aaragimpave - Thodi
23.http://www.mediafire.com/?itumzemzqyj Introduction
24.http://www.mediafire.com/?ojdfkyytlzj Vidamuseyave - Karaharapriya
25.http://www.mediafire.com/?midiyqwizjo Introduction
26.http://www.mediafire.com/?3fzzimdtyx1 Laali laalayaani - Vedgoshapriya
27.http://www.mediafire.com/?jxh02jmdzty Introduction
28.http://www.mediafire.com/?mnukuydqjlt Laali yugave - Neelaambari
29.http://www.mediafire.com/?gwbimx0ymi3 Introduction
30.http://www.mediafire.com/?kcjijzjytyb Laali gunashaali - Kedhaaragowla
31.http://www.mediafire.com/?limnonzuwmo Introduction
32.http://www.mediafire.com/?rgyn2ikztug Raama sriraama laali - Sankarabaranam
33.http://www.mediafire.com/?mkoxzwyeoqe Introduction
34.http://www.mediafire.com/?mtjo2mdmndt Badalikaadhira - Reethigowlai
35.http://www.mediafire.com/?dwftymnqdo3 Introduction
36.http://www.mediafire.com/?gdjm2mlmde5 Sri raama raama - Neelaambari
37.http://www.mediafire.com/?y1jnyezy22n Introduction
38.http://www.mediafire.com/?ftkkmkiyxwh Jo jo raama - Reethigowlai
39.http://www.mediafire.com/?2mmnihgimem Introduction
40.http://www.mediafire.com/?zdzgvomz5f4 Melukovayya - Bowli
41.http://www.mediafire.com/?wrwxhzet2mj Introduction
42.http://www.mediafire.com/?51yzzttmmmr Meluko dhayanidhe - Sourashtram
43.http://www.mediafire.com/?hnnyzzgzntj Introduction
44.http://www.mediafire.com/?wnmjzmmyiyu Jaya mangalam - Ghanta
45.http://www.mediafire.com/?vi2ntjn2m2j Mangalam

Legacy of Oothukaadu

An artist has done a thorough job if he/she can spiritually polarize the crowd and if rasikas leave the hall with a feeling of enlightenment, elation and devotion. Did the 2000+ people - sitting, standing and even seated outside the auditorium and watching Smt. Aruna Sayeeram on the TV screen at the Jaya TV Markazhi Mahautsav 2008 leave the auditorium with this feeling? Did she create a musical trance?

The auditorium was brimming to its fullest capacity 2 hours before her concert given the theme for Smt. Aruna - Legacy of Oothukaadu. I also heard a few of them say they came to hear J.Vaidyanathan on the Mridhangam, Karthik on the Ghatam and HN Bhaskar on the violin. No concert can be successful if there no team-work and if the wavelength of the accompanist don’t match with the vocalist. Was the evening a divine unison?

Aruna opened the concert with a brief sketch of Gambira Naati and rendered the famous krithi Sri Viganrajam Bhaje composed on Thiruvalanchuzhi Ganesha. What other raga than Gambira Naatai can create the right pulse in 2000+ crowd? She sounded jarring at a few places in this song, may be she trying to settle into the theme and mood. Nevertheless, the kalpanaswarams for this piece was rich and short.

Kalayanarama composed on Vaduvoor (aka Dakshina Ayodhya) KothandaRamar in Hamsanadham brought fond memories of DK Jayaraman along with beauty of Vaduvoor Ramar. Kalapanaswaram at Raghava Raghu Rama in duritha kalam was delightful and divine.

There are not that many krithis in Umabaranam and we’ve all heard the popular one Nijamarmamula by Thyagaraja. Oothukaadu has done just 2 kritis in this raga and Udajagopasundara was along the lines of Nijamarmula loaded with bakthi.

Oothukaadu is the master when it comes to Saptharathna krithis. Aruna rendered Alavadennalo Sivane in Paras, the only Saptharatna kriti in Thamizh. The krithi mentions all of 63 Nayanmars in the madhyamakala charanams. After every 5 Nayanmars there is swara passage. The main charanam line “Innavaril oruvaraipole” pleads with the lord for a release from the cycle of birth and death, but if born again may it be like one of the 63 Nayanmars. The composer’s humility and mastery over Shiva Puranam is reflected in the words “adiyark adiyark adiyanai” and he asks Shiva if he can be Shiva baktha’s baktha’s baktha. This piece won Aruna a thunderous applause.

When Aruna started Oyyara kanna kuzhal oodha – virutham in Kambodhi the spell bound audience were fascinated by description of Kannan and recreation of Aayarpaadi. Kuzhal Oodhi Manan yellam followed the virutham.

Aruna explained the composer’s devotion towards Sri Rajagopalan of Mannargudi and Santhanakrishan and presented Mani Noopuradhari in Neelambari. She brought out the vatsalyam in the Neelambari.

Aruna was surrounded by papers on the dais and the Mama besides me made an interesting comment. “ Idthu yenna vadaam vathal kaya vekkara madiri ore paper a irukku”. One can refer to lyrics for songs like Alavadennalo Sivane, but not for popular numbers.

Adathu asangathu vaa kanna (Madhyamavathi) is what Aruna asked the almighty, but she could not hold the audience from swaying in bakthi and in the jeevan of the lyrics. Her alapana reminded us to Late ML Vasanthakumari and Kanna piece in this raga. Neraval at chinnan chiru padangal was done with finesse to bring out the tenderness and beauty of the Krishna’s feet. She did a ragamalika rendition of the same line in Todi, Bowli, Atana and Hindolam. In zeal and excitement she dragged charanams from the krithis into this Madhyamavathi and made it taste like payasam and curd rice together. She should have refrained from singing swaram in Todi for a Madhyamavathi krithi. You can be an ardent devotee of Krishna and Oothukaadu, but it is not right to try such experimentation on the concert platform however sweet and interesting it may sound. Creativity and innovation should never go beyond tradition.

Oothukadu has not only sung on Krishnan, but also made compositions on Ganesha, Vishnu, Shiva, Devi, Rama, Subramanya, Ranganatha, Parthasarathy, Saraswathi, Aghora Veerabadhra, Nrisima, Anjaneya, and Surya. He is one of the 3 composers (other being Muthuswami Dikshithar, Swati Tirunaal) to do Navavarna krithis. Bhajaswa Sri Tripurasundari on Garbarakshambikai in Nadanamakriya. How can one forget the one who protects fetus and takes care of the process of srishti? The madyamakala sahityam “Gajamukhajanani sasadharavadani sisiritabhuvani sivamanoramani was so beautiful rendered.

When you call Shanmukapriyan, the nephew of Vishnu for a boon, you should do that with atmost devotion. It took Aruna a minute to bring the essence of Shanmukhapriya in the krithi Varamondru Thanduarulvaai. How can one ever forget the rendition of the same krithi by Maharajapuram?

The penultimate piece of the concert brought out the pranks played by Krishna. Vishamakara Kannan (popularized by Smt. Sudha Raghunathan) in Chenchuritti lightened the atmosphere and lines pakkattu vittup-pennai azhaippaan showed that bakthi can be fun too. HN Bhaskar brought out the folk essence of Chenchurutti.

The 2 hour spiritual journey started from Thiruvalanchuzi, Vaduvoor, Mannargudi, Thirukarukavoor, and finally reached Oothukaadu and concluded with the Kalinga Nardhanam. J Vaidyanathan and Karthik helped Aruna recreated the picturesque scene.
This was definitely a divine unison of jeevatmas with the paramatma. Legacy of Oothukaadu is in the right hands and is definitely preserved.