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SrI: SrI rAmacandra parabrahmaNe namaH

krtis of SrI tyAgarAja swAmi
Dear Raama BhakthAs: Saint Thyagaraja is one of the greatest Raama BhakthAs that ever lived. Sangeetham and Bhakti intermingled ever so graciously in his kritis, which are anjalis with the naama kusumams (pushpams) of the Lord of AyOdhya. The outpouring of his parama bhakti is captured raptourously in his Ghana Raaga gem of kritis known collectively as Pancha Ratnams ( His masterly handling of Sangeetham and bhakti is a marvel ( Essays on Saint ThyagarAjA’s Raama bhakti drenched Kritis in various Janya and Janani rAgams are covered further in ( Please enjoy them. Sriman Ramanujam Thiruvenkataswamy sent me recently a fairly complete list of the krithis of the Saint from ThiruvayyARu. He had received it from another friend of his in KeraLa. When I went thru them, it occurred to me that it will be good to make them available to all Sangeetha rasikAs and Raama BhakthAs in the form of one Kriti a day with some additional notes by myself beyond the text of the kriti and its meanings. adiyEn prays to Jaanaki Raaman to shower the blessings on a group of four devotees, who are going to help me present this Naadha NaivEdhyam. The central goal of this Kaimkaryam is to bring out the pulsating Raama Bhakti of Saint ThyagarAja, who was blessed to see the Lord and His family twice with his own physical eyes at the Thirumanjana Street house of his at ThiruvayyARu. Saint Thyagaraja who had completed 92 crores of Raama Naama Japam at a fairly young age was blessed to have the subha darsana soubhAgym of the Lord once with LakshmaNa and on another time with His Piratti and AnjanEya. Such is the power of the Saint’s Raama Bhakthi and Raama Naama Japa phalan.

adiyEn will start this Kaimkaryam with the help of four colleagues of mine from the Sundarasimham. KrishNa Priyaa and Geethaa Anand. appended to this document. Ahobilavalli and Sri HayagrIvan likhita Kaimakrya ghOshti: Srimathys Jayashree DesikAchAri. Kala Hari. Raama DhAsan.SrinivAsa RaghavacchAri Swamy on Music and Bhakti: Sangeetham and Bhakti in our SampradhAyam. With this Poorva Peetikai.adiyEn refers you to the scholarly article by Vaikuntha Vaasi PudukkOttai Mahaa VidhvAn A. adiyen thanks them on your behalf in advance. adiyEn takes you to Saint ThyagarAjA’s Brindhavanam on the banks of Mother Cauvery as She quietly flows listening to the Raama Kathaa as sung by the Saint of Panchanadheeswara Puri. Oppiliappan Koil VaradAchAri Sadagopan .

Music was patronized by kings in ancient India andnow the public are its patron. it is in a rustic way in the huts of the latter. The institution of temples in our country has been a source of great encouragement to the various fine arts and particularly dance. Singing before gods and godly persons is not only permitted but even enjoined. It is common experience that the child at home is lulled to sleep by the loving mother. Side by side with vocal music instrumental music also developed. The apparent contradiction should be explained by saying that song as such is not decried but only singing in praise of unworthy persons with selfish motive is prohibited. Strangely enough there is a Vedic Text which is rather unsympathetic towards musicians with the result that some who are steeped in Vedic lore are found to be averse to music. “பசுர்ேவத்தி சிசுர்ேவத்தி ேவத்தி கானரஸம் பணீ” It can be heard in the houses of all – rich and poor alike. During the procession of temple deities. Certain occasions are set apart for the singing of songs and certain persons appointed for this purpose. The three Vedas Rik. Animals like the deer are said to be caught by hunters in the forest by playing upon their horns. Yajus and Atharva are only chanted whereas Sama-Veda in its entire entirety is sung.SRINIVASARAGHAVACHARIARSWAMY *** Music is a fine art which is a source of joy and attraction to all beings – gods and men and beasts. If it is in a sophisticated form in the mansion of the former. “The animal. Television and Radio play an important part in bringing music to the doors of all people now.SRIRAMAJAYAM By PUDUKKOTTAI SRI A. the baby and the serpent know the sweetness of music is a wellknown saying”. playing on then pipe (nadasvara) to the accompaniment of drum and cymbals came to be an important item. Theaters. Serpents are made to dance with their hoods expanded by the tune of the pipe of the snake charmer. music halls. Similarly in the worship of MUSIC AND OUR SAMPRADAYA . drama and music.

There has been an unbroken development in the art of music from the Vedas downwards. Reference to music and musical instruments are in plenty in our Puranas. If the Lord is lulled to sleep at night with one tune of music (neelambari by name). By way of illustration I shall take up the Sundarakanda of Valmiki Ramayana. Raga and Tala) பகாெரா வாவைனர் க்த: ேரேபா ரேகண மிச்ாித: தகாரம் தால்மித்யாஹூஹூ பரதார்த்த விசக்ஷணா: There has been an equally great development in the field f musical kinds and of diverse patterns and are chiefly classified under four heads: ‘thata’ or Chordophone (like Vina and Vipanchi). The letter “bha” indicates that there is Bhava or sentiment. each of them holding a musical instrument in her warm embrace which she should have been playing upon for the delectation of Ravana. who by their songs woke up the kings in the early morning or announced the different parts of the day to apprise the kings of their duties. Avanaddha or Membranophone (like Mridanga and drum). There he sees beautiful Rakshasa damsels all asleep wearied by the nocturnal revels.the deities in temples. Ithihasas and kavyas. Ghana or Autophone (like Ghata). He is awakened at dawn by another tune (namely bhoopala. Thus music has been and is occupying a very enviable place both in our religious and secular sphere. and Sushira or Aerophone (like flute and Nadasvaram) ததம் ைசவாவநத்தம் ச கணம் ஸுஷிரேமவ ச ச ர்விதம் விேஞயம் ஆேதாதாம் லக்ஷணான்விதம் Frequent mention is made of these musical instruments in our poetical works both Sanskrit and Tamil. “Ra” that there is a Raga or Music and “Ta” is Tala which shows that time is kept upon. There were minstrels known as Vandins and Vaitalikas in the Royal Courts in our country. (Bharata – Bhava. Hanuman goes to Lanka in search of Sita and in the course of his wanderings enters the harem of Ravana. Tamil Literature also abounds in such references and in fact there is a three-fold division of their literature as Iyal (classics) Isai (music) and natakam (drama) Music has been given the status of a Veda since it is known as Gandharva-Veda. The Atodya or .Sage Bharata is the fist to give us a treatise on the act of dancing known as Bharata-Natya. the last phase at night was singing with vina. The letters of the name Bharata are interpreted suitably to given us an idea of the nature of Natya-Sastra.

குரல்) 2.இளி) 6. Kusa and Lava sang the entire Ramayana to the accompaniment of Vina Sarasvati the goddess of learning is represented as gently playing on the Vina.The twitter of Krouncha bird is madhyama (uzai . Similarly in the field of Music. ஷட்ஜம் ம ேராவததி காேவா ரம்பந்தி ச ஷபம் அஜாவிகம் ச காந்தாரம் க்ெரளஞ்ச:க்வணதி மத்யமம் ஷ்பாஸாதாரேண காேல ேகாகிேலா ெரளதி பஞ்சமம் ைதவதம் ேஹஷேத வாஜீ நிஷாதம் ப் ம்ஹேத கஜ: The realm of music is so all-pervasive that in our country gods. Urvasi and Tilothama. kalari. The sweet notes proceeding from his flute sent into raptures and a trance all that heard it and all that came to hear it. Sapta-Svaras or seven major tunes have been distinguished and the pitch of each has been equated with the cry of a bird or an animal as follows: {I shall give below the names of Svaras in Sanskrit with their Tamil equivalents in brackets}.The trumpeting of the elephant is Nishada (Taara . Krishna is always associated with his flute as the name Muralidhara will show.விளாி) 7. Tumburu and narada are wandering minstrels who ramble with Vina in hand singing the glories of Vishnu. Plants exuded . Madduka.Rambha and Menaka.The cooing of the cuckoo in the spring is Panchama (Ili . 1.The bellowing of the bull is Rishabas (Tuttam . goddesses and sages are associated with it. Pataha and Dindima (kinds of drums).ைகக்கிைள) 4. Dundubhi (kettle drum) Adambara (a battle drum) and Aanaka and muraja (large military drums beaten at one end).தாரம்). Periazwar (Sri Vishnuchitta) has devoted a whole decad to depict the melody of flute.த்தம் ) 3. Mridanga. Siva wields a small drum.The bleating of the sheep is Gaandhara (kaikkilai .உைழ ) 5.musical instruments mentioned therein are: Vina (Lute).The neighing of the horse is Dhaivata (Vilari .The cry of the peacock is Shadja (kural . The calves forgot to continue to suck milk from the udder and stood enchanted. The deer stood motionless as in a picture not knowing that the grass in the mouth was falling down. kinnaras and gandharvas all were charmed by the music. Vipanchi (lyre) Vamsa (flute).

the foremost Acharya in the Hierarchy as the noble and broad-minded Seer who gave us sweet music of the Dravida-Veda (the hymns of Alwars known as Divya-prabandham) so as to be sung keeping time.played upon the divine beings when they come to sing and wake up Lord Ranganatha in Srirangam.streams of honey. Within the thirty hymns of Tiruppavai. Ahiri. All the hymns of the Alwars have been composed that they can be set to music and in certain editions the names of Pans or Ragas in which they have to be sung are also given. and pan. kuzal. It is stated that one well versed in the art of playing Vina in accordance with the Science of Tunes inmusic. Sri Vedantadesika again describes himself as the Vina that was played by Lord Venkatesa when he sang Daya-Satakam – a panegyric on Daya. Yaazh. ணாவாதந தத்வஞ: சீ திசாஸ்த்ர விசாரத: தாலக்ஞச்சாப்ரஸாேதன ேமாக்ஷமார்கம் ஸ கச்சதி Sri Andal (Goda-devi) corroborates this when she concludes her Tiruppavai by saying that by music one will become recipient of all-round Bliss by the . The tiny branches with leaves and flowers of the creeper turned towards the direction from which sweet note of Sri Krishna proceeded.Panchuram. Yadukula-kamboji and Sankarabarana are respectively known in Tamil as Pan – Kausikam. Pan-Saadhaari. Pan-Panchamam.marul. The bees and birds in the holy places sanctified by the presence of Baghavan in Archa (consecrated Idol) form sing in various times which have separate names in Tamil Literature (eg. and keeping time is really on the path of Salvation without effort. Sri Vedantadesika refers to Natha-muni.Naivalam)The tunes and Ragas Bairavi. The hymns of Alwars are replete with references to music and musical instruments. Maddali. The Lord himself addressed as the note of the Lute (Yaazin isaiye) by Sri Satakopa (Nammlvar). Andal refers to songs and singing in fourteen (14) places. Pantuvarali. Ekkam. Sapta-svara (Ezisai-) occurs repeatedly in the hymns of other Alwars. Muzhavam . In one song Tondar-adi-podi Alwar gives the names of several musical instruments –Tannumai. Our Acharyas also have kept up this musical-set-up of the hymns of the Alwars.Kurinji. Pan-sevvazhi.

grace of Sri and Narayana. And we who tread the path of the Alwars and Acharyas shall also sing our way to the Lord and attain the bliss of Service to Sri Vaikuntanatha here.74 .9. Salutations to Alwars Salutations to Acharyas Written by father on 16. there and everywhere.