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Saturday, July 13, 2013

HISTORY OF CARNATIC MUSIC

HISTORY OF CARNATIC MUSIC

HISTORY OF CARNATIC MUSIC

The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.

THE ANCIENT PERIOD (Vedic period - 4th Century AD)

This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:

Vedas:

* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).

* Several references to music of musical instruments are seen in the Vedas.

* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.

* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.

* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.

* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.



Bharata's Natyasastra (The 2nd - 4th century AD)

This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.

Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).

In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).

MEDIEVAL PERIOD (5th - 16th Century AD)

During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.

* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.

* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.

* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.

* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.


Sangeeta Ratnakara

An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.

Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.


Musical Forms

This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.

Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.

Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.

In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music

MODERN PERIOD (17th century to present day)

The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.


Theoretical aspects


The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).

By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.

While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.

Practical aspects


In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)

Musical concepts


The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.

Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.

Music Education


The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.

The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.


Thursday, August 16, 2007

Jayachamaraja Wodeyar (1919 - 1974) Biography and Works

Biography

Jayachamaraja Wodeyar was one of the rare Kings who was also an important musicologist and composer. Perhaps he was following the example set by Travancore king - composer Swati Tirunal and the last Mughal emperor - ghazal poet Bahadur Shah Zafar .
Jayachamaraja Wodeyar was born in Mysore on 18th July, 1919 as the son of Kanteerava Narasimharaja Wodeyar. He received traing from ashtana vidhwans in all arts and sciences. Mysore kings were great patrons of art and music. They had in their court great musicians from all over India, both Carnatic and Hindustani.
Jayachamaraja Wodeyar ascended to the throne in 1940, after the death of Chamaraja Wodeyar IV and ruled till 1950, when he handed over the state to the Indian republic, ending 550 years of Wodeyar rule. But, he continued to be the constitutional head of Mysore state as the Raja Pramukh (1950-56), till the post was abolished. He was then the first governor of Mysore state (1956-65) and also Madras state (1964-67).
As a great patron of music, he had several artists in his court - Tiger VaradachariarMysore Vasudevachar, Muthaiah Bhagavathar, Gotuvadyam Narayana Iyengar and Ariyakudi Ramanuja Iyengar. Jayachamaraja Wodeyar composed about 90 krithi-s in Sanskrit, some in rare raaga-s like Bhogavasanta, Durvangi. He had great interest in western music too. He was the recipient of D.Lit from Queensland University, Australia, Doctor of Law from Banaras University, and D.Lit from Annamalai University. He was honorary Fellow of Trinity College of Music, London, in the year 1945.
Mudra: Shrividhya

Genre Carnatic: Krithi, Varna
Languages used:
Sanskrit

Compositions:
Ambujakshi
Simhavahini
Rupaka
Krithi
Balakrishnam
Nilaveni
Adi
Krithi
Bhajare mohana
Bhanuchandrika
Rupaka
Krithi
Bhooribhagyalahari
Pratapavarali
Adi
Krithi
Brahmananda valaye
Maand
Triputa
Krithi
Chintayami Jagadambha
Hindolam
Adi
Krithi
Chinthaye sada
Sindhuramakriya
Adi
Krithi
Chintyami santhanama
Varunapriya
Adi
Krithi
Devi Jadambika
Vasantha Bhairavi
Khanda Jhampa
Krithi
Devi Sri Meenakshi
Chakravakam
Triputa
Krithi
Gam Ganapathi
Durvangi
Triputa
Krithi
Gamganapathe sada
Nagasvaravali
Adi
Krithi
Kamakshi pahi mam
Shivakambodi
Khanda Triputa
Krithi
Kshirasagara
Mayamalavagaula
Dhruva
Krithi
Manavathim
Kokilapriya
Adi
Krithi
Matanga kanyam
Sudha Thodi
Khanda Triputa
Krithi
Mrithunjayam
Ragavardhini
Triputa
Krithi
Nadarupini vandeham
Kokilapanchamam
Adi
Krithi
Nagalinga Maheswaram
Sankarabharanam
Rupaka
Krithi
Neelakantam Mahadevam
Purvikalyani
Misra Triputa
Krithi
Pahi mam
Supradeepa
Adi
Krithi
Pahimam Sitarama
Hindola Desika
Adi
Krithi
Pahimam Sri
Jayasamavardhani
Khanda Triputa
Krithi
Pahimam Sri Parameswari
Hindola Durbar
Rupaka
Krithi
Paripahi mam
Subhapanthuvarali
Adi
Krithi
Rajarajeswarim
Balachandrika
Khanda Triputa
Krithi
Saraswathim bhagavathim
Hamsavinodhini
Khanda Chapu
Krithi
Sri Chakrapurvasini
Sudha Lalitha
Adi
Krithi
Sri Gayatri
Gamanasrama
Druva
Krithi
Sri Jalandhara masrayamyaham
Gambhiranatta
Adi
Krithi
Sri Nagalingam
Vachaspathi
Jhampa
Krithi
Sri Ranganathani
Kalyanavasantham
Jhampa
Krithi
Sri vidya lalitham
Nadabrahma
Adi
Krithi
Sri Vidyamodini
Kokilabhashini
Tisra Triputa
Krithi
Sri Vidyapati
Lalitha Panchamam
Adi
Krithi
Srichamundeswari
Kannada
Adi
Krithi
Srilalitham maha
Nagadhvani
Khanda Triputa
Krithi
Suranandinee
Suranandini
Adi
Krithi
Suvarnangi
Suvarnangi
Misra Jhampa
Krithi
Swaminatha palaya
Charukesi
Triputa
Krithi
Vandeham Sive
Kathanakuthuhalam
Matya
Krithi
Vandehamsada
Hamsanatini
Adi
Krithi
Vijayatam sagare
Vishwambhari
Triputa
Krithi
Vimalambike paripahim
Vijayavasantha
Adi
Krithi

Papanasam Shivan (1890 - 1973) Biography and Works

Biography
Papanasam Shivan is the most important Carnatic Composer in Tamil. He has composed over two thousand songs in seventy five raaga-s. He is known as Tamil Thyagaraja.
Papanasam Shivan was born in 1890 in Polaham, Tanjavur district. His real name was Polagam Ramaiah. His father passed away very early, forcing his mother to move to Thiruvananthapuram. Papanasam Shivan studied Sanskrit at Maharajah's college. His musical training was mostly informal. He was guided and influenced by Neelakanta Sivan and Konerirajapuram Vaidyanatha Iyer. The limited formal training he had was from Samba Bhagavatar and Mahadeva Bhagavatar. He also never had any formal training in Tamil.
He was a teacher at Kalakshetra for sometime. During that time he got a big break and started working for the Tamil music indutry. About 800 of his compositions would be for the film industry. He is perhaps the only Carnatic composer to have so extensively worked for the film industry. Papanasam Shivan's carnatic compositions were mostly spontaneous and noted down by others. His compositions were mostly in Tamil, even though he has some Sanskrit compositions. In 1972 he was awarded, belatedly, Sangeetha Kalanidhi by Madras Music academy.

Mudra: Ramadasan

Genre Carnatic: Krithi, Varna, Thillana



Languages used: Tamil, Sanskrit


Compositions:


Composition
Raaga-Taala-Type


abhayAmbikA ramaNa
shankarAbharaNa-Adi-krithi


adbhuta lIlaigaLai
madhyamAvati-Adi-krithi


aDimai ennai
mukhAri-rUpaka-krithi


aDimai mEl
nATa-Adi-krithi


aDimaiyin uLLa (kaNNigaL)
vasantA-Adi-krithi


aDimalariNai
paraju-Adi-krithi


aDittAlum unai
nATa-Adi-krithi


ADiya pAdattai
kAmavardhini-Adi-krithi


ADum deivam
kAmbhOji-Adi-krithi


AduvOm vArungaL
kEdAra-Adi-krithi


aiyA nin
bilahari-Adi-krithi


aiyan tiruvaDiyai
rAgam: pUrvikalyANi-Adi-krithi


aiyappanai paNivOm
Arabhi-Adi-krithi


akhilANDa nAyaki
shankarAbharaNa-Adi-krithi


akhilANDeshvari
shri-Adi-krithi


aLavilAda Anandam
bhairavi-Adi-krithi


aLavillaiyE
mukhAri-dEshAdi-krithi


amalE amarargaL (bhajan)
kuntalavarALi-Adi-krithi


ambA manam
kAmavardhini-Adi-krithi


ambA un mEl
behAg-Adi-krithi

ambA un pAdam
gambhIranATa-Adi-krithi


ambA unaiyE
shankarAbharaNa-dEshAdi-krithi


Ananda naTamADum ayyan
shuddhadhanyAsi-rUpaka-krithi


Ananda naTamiDum
kEdAragauLa-Adi-krithi


Anandabhairavi anaiyum
Anandabhairavi-Adi-krithi


AnandamE paramAnandamE
kAmbhOji-Adi-krithi


anbilaiyE
khamAs-rUpaka-krithi


ANDavan anbE shakti
shivaranjani-Adi-krithi


ANDavan nIyE
mAyAmALavagauLa-Adi-krithi


ANDavanai nambu
sAma-Adi-krithi


ANDavanE unai
SaNmukhapriya-rUpaka-krithi


anjalenrE
rAgam: bilahari-Adi-krithi

annaiyin kAlil
rAgamAlikA-Adi-krithi


annaiyum tandaiyum
kApi-Adi-krithi


anudinamunai
madhyamAvati-Adi-krithi


appan avataritta
kharaharapriyA-Adi-krithi


appanum ammaiyum
aThANA-Adi-krithi


AraNa poruLE
dEvagAndhAri-Adi-krithi


AraNamum Agamum
kharaharapriyA-jhampa-krithi


aruL puri
sarasvati-Adi-krithi


arumukhA
shuddhasAvEri-Adi-krithi


aruT-tivilai
rAgam: husEni-Adi-krithi


attaruNam
bhairavi-Adi-krithi


avAng manasa
cakravAka-Adi-krithi


bAla pAhi
nIlAmbari-Adi-krithi


bAlakrSNa mAm pAhi
sAvEri-Adi-krithi


bAlakrSNan
dhanyAsi-rUpaka-krithi


bAlasubramaNya
kEdAragauLa-rUpaka-krithi


bhAgavatOttama
behAg-Adi-krithi


bhajanai sheivAi
behAg-Adi-krithi


bhajanai sheivOm
naTabhairavi-Adi-krithi


bhArata mAtA
naTabhairavi-Adi-krithi


bhArata puNya bhUmi
kuntalavarALi-Adi-krithi


bhUmiyil mAniDa (kaNNigaL)
sindhubhairavi-Adi-krithi


bhuvana patI
kAmbhOji-Adi-krithi


bhuvanEshvari pAdam
bEgaDa-rUpaka-krithi


bhuvanEshvari pughal
maNirangu-dEshAdi-krithi


bOdhendra gurumUrti
pUrvikalyANi-Adi-krithi


cAmuNDEshvari
sAvEri-Adi-krithi


candra kalAvatam
shankarAbharaNa-Adi-krithi


caraNa pankajam
mAyAmALavagauLa-cApu-krithi


caraNAmbujam
shuddhasAvEri-Adi-krithi


cidambara nAthA
hEmavati-Adi-krithi


cintai teLindu
kalyANi-rUpaka-krithi


cittam irangAdEnaiyyA
shahAnA-cApu-krithi


daNDapANi padam
rAgaA: maNirangu-Adi-krithi


dasharatAtmajam
pUrvikalyANi-rUpaka-krithi


dayAnidhE jAnakIpatE
nATa-Adi-krithi


dayAparan shankaran
kharaharapriyA-Adi-krithi


dayavillaiyA dayALO
kharaharapriyA-Adi-krithi


deivam tuNai
SaNmukhapriyA-Adi-krithi


dEsha sEvai
mAND-Adi-krithi


dEva dEvanai
cenjuruTTi-rUpaka-krithi


dEvadEvan pAdam
khamAs-Adi-krithi


dEvi nin
bEgaDa-Adi-krithi


dEvi nIyE
kIravANi-Adi-krithi


dEvi pAdam
tODi-Adi-krithi


dEvI shrI
kalyANi-Adi-krithi


dEvi undan
mukhAri-Adi-krithi

dharma samvardhani
nATakuranji-Adi-krithi


dhIm tarana (tillAnA)
SaNmukhapriyA-Adi-krithi


dhyAnamE enadu
kApi-Adi-krithi


dikku vErillai
varALi-Adi-krithi


dinam IdE
bhUpALa-Adi-krithi


durgAlakSmi
Arabhi-Adi-krithi


ellAm avan sheyal
tODi-cApu-krithi


ellAm brahmamayam
behAg-Adi-krithi


en manam
simhEndramadhyam-Adi-krithi


enadu manam
harikAmbhOji-Adi-krithi


enadu uLLamE
cenjuruTi-rUpaka-krithi


enda vidam
mukhAri-jhampa-krithi


endai gOvindan
bilahari-Adi-krithi


engum niraindirukkum
kurinji-Adi-krithi


enna sheidAlum
kharaharapriyA-Adi-krithi


enna tavam
kApi-Adi-krithi


ennai kAttaruLvadu
hEmavati-Adi-krithi


ennai shOdanai
kalyANi-cApu-krithi


ennai viTTODAdEDA
mOhana-Adi-krithi

ennALum inda
rAgAmukhAri-Adi-krithi


Enunakkinnum
kApi-Adi-krithi


gajavadana
shrIranjani-Adi-krithi


gAna rasamuDan
bEgaDa-rUpaka-krithi


gaNapatiyE karuNAnidhiyE
kharaharapriyA-Adi-krithi


gAndhijiyAi
hamsadhvani-Adi-krithi


gAndhiyai pOloru
cenjuruTi-Adi-krithi


gangai aNi
tODi-mishra Eka-krithi


garbhavAsam ariyAda
hamsadhvani-Adi-krithi


gati nIyE
sahAnA-Adi-krithi


gati udavum
RAgamAlika-jhampa-krithi


gaurImanOhara
gaurimanOari-Adi-krithi


gOkulam yamunai
dEs-Adi-krithi


gOmati tAyE
yadukulakAmbhOji-Adi-krithi


gOpAla sajjana
dhanyAsi-Adi-krithi


gOpAlanE deivamAm
khamAs-Adi-krithi


grahangaLim
bhairavi-Adi-krithi


guruvAyUrappA
cakravAka-Adi-krithi


haranE innum
karnATakabehAg-Adi-krithi


iDadu padam
khamAs-Adi-krithi


iDaiyarAdun
sahAnA-Adi-krithi


iddaraNiyil
bEgaDa-cApu-krithi


ihaparamenum iru
simhEndramadhyam-Adi-krithi


illai enra
kharaharapriyA-tisra Adi-krithi


inbamenbadu
kAnaDA-Adi-krithi


inda parAmukhamA
mAyAmALavagauLa-rUpaka-krithi


indrajAla (kaNNigaL)
kAmavardhini-Adi-krithi


Ini oru kaNam
shrIranjani-rUpaka-krithi


IshananbAr
kApi-rUpaka-krithi


IshanE inda
cakravAka-rUpaka-krithi


jAnakIpatE
kharaharapriyA-Adi-krithi


jaya bhErikai
kAmbhOji-Adi-krithi


jaya jaya guhA
shuddhadhanyAsi-Adi-krithi


jaya vijayIbhava
mAND-Adi-krithi


jaya vIra
paraju-Adi-krithi


jaya viTThala
bilahari-rUpaka-krithi


jE paNDarIsha
sOhini-Adi-krithi


jnAna sabhaiyil
sArangA-cApu-krithi


jyOti mayamAna (kaNNIgaL)
kuriniji-Adi-krithi


kaDaikkaN nOkki
tODi-Adi-krithi

kaDaikkaN pArvai
khamAs-Adi-krithi


kAdali rAdhaiyai
kharaharapriyA-Adi-krithi


kaDalil amizhndiDuvOm
maNirangu-Adi-krithi


kadir kAma
kAmbhOji-tisra tripuTa-krithi


kai koDuttALaiyyA
bEgaDa-Adi (2 kaLai)-krithi


kailAsacala vAsA
hindOLa-Adi-krithi


kaimmAru sheivaduNDO
kEdAragauLa-Adi-krithi


kAl mAri ADum
dEvamanOhari-dEshAdi-krithi


kali tIrumO
tODi-dEshAdi-krithi


kallAda Ezhai
sAvEri-Adi-krithi


kalpakAmbikA
harikAmbhOji-Adi-krithi


kalpakAmbikai nI
behAg-rUpaka-krithi


kalpakAmbikai uNDu
shuddhasAvEri-khaNDa jhampa-krithi


kalpakAmbikaiyin
rAgam: latAngi-Adi-krithi


kalpakAmbikE shrI
bhairavi-rUpaka-krithi


kalyANi karuNAnidhi
KalyANi-Adi-krithi


kAmAkSi gauri
sAvEri-Adi-krithi


kamala malaridazh
kalyANi-Adi-krithi


kamalAmbA anaiyE
shankarAbharaNa-Adi-krithi


kamalappada malariNai
harikAmbOji-Adi-krithi

kAmAntakA
kApi-Adi-krithi


kAmattai jayikkAdavan
dhanyAsi-cApu-krithi


kAmEshvarA
kalyANi-dEshAdi-krithi


kan manam
surAti-Adi-krithi


kANa Aval
mOhana-Adi-krithi


kANa vENDAmO
shrIranjani-rUpaka-krithi


kANa virumbum
mukhAri-Adi-krithi


kanaka sabhaiyai
hindustAnikApi-rUpaka-krithi


kANakkaN kOTi
kAmbOji-Adi-krithi


kandA vandaruL
AbhEri-Adi-krithi


kanindaruL
kalyANi-tisra Adi-krithi


kanja malaraDi
shankarAbaraNa-Adi-krithi


kaNNA kAttaruL
madhyamAvati-Adi-krithi


kaNNan madhura idazhai
bhImpalAs-Adi-krithi


kaNNan mALigaikkE
aThANA-Adi-krithi


kaNNanai paNi
SaNmukhapriyA-Adi-krithi


kaNNE en kaNmaiyE
kurinji-tisra Adi-krithi


kAntimati annai
kAnaDA-cApu-krithi


kapAli irukka
sAvEri-khanDa jhampa-krithi


kapAli karuNai nidhi
hamsadhvani-Adi-krithi

kApAli karuNai nilavu
mOhana-Adi-krithi


kapAlIshanE
khamAs-Adi-krithi


kAriruLokka
kharharapriyA-Adi-krithi


karpaka manOhara
malayamAruta-khaNDa jhampa-krithi


karpaka vallI
ragamAlikA-Adi-krithi


karpaka valliyin
Arabhi-Adi-krithi


karpakAmbikE
bilahari-rUpaka-krithi


karpakamE
madhyamAvati-Adi-krithi


kArtikEya gAngEya
tODi-Adi-krithi


karuNA nidhiyE
bauLi-tisra tripuTa-krithi


karuNai puri
tODi-Adi-krithi


karuNai sheivAi
hamsadhvani-dEshAdi-krithi


karuNai varumO
cArukEsi-Adi-krithi


karuNakaranE shiva
kIravANi-Adi-krithi


karuNAnidhiyE
kuntalavarALi-Adi-krithi


karuNAnidhiyE kaDaikkaN
kuntalavarALi-Adi-krithi


konjam dayai
shankarAbharaNa-cApu-krithi


kOsalai pudalvanai
rAgamAlikA-Adi-krithi


krSNA mukundA
navarOj-Adi-krithi


krSNa nAma
behAg-dEshAdi-krithi

Muthaiah Bhagavathar (1877 - 1945) Biography and Works

Biography
Dr. Harikesanallur Muthaiah Bhagavathar is one of the most important post-trinity composers and an important vocalist as well.
Muthaiah Bhagavathar was born to Lingam Iyer and Anamdam in 1877. After the early death of his father, he was brought up by his maternal uncle Lakshamana Suri of Harikesanallur, who taught his Sanskrit, Vedas and music. He got further musical training from Sambasiva Iyer and his son T. S. Sabesa Iyer, who belonged to the Thyagaraja shishya parampara.
As a vocalist, his big break came when in 1887 he sang before Maharaja Mulam Thirunal of Travancore who honoured him as a court musician. This established him as one of the front ranking musicians of the time. Later he started giving Harikatha performances, for which he earned the name Bhagavathar. This was the time he started composing, which he would use in his Harikatha-s.
The next phase of his life was as a court musician in Mysore, from 1927. Most of his compositions were from this period. Initially he composed mostly in Madhyakala, like Shri Tyagaraja. After 1931, he was influenced by Muthuswamy Dikshitar compositions and started compoing in vilambita kala. In 1936, he was again invited by Maharani Sethu Parvathi of Travancore and he spent several years there. during that time, one of his major contributions was popularising Swati Tirunal compositions. He was also the first prinicipal of "Swathi Thirunal Academy of Music" there.
Apart from being a vocalist and composer, Muthaiah Bhagavathar was also a learned musicologist. He was actively involved in the Annual Conference of Experts conducted by The Music Academy of Madras. In 1930 he was awarded the Sangeetha Kalanidhi by the academy. He also wrote a book on the science of music, Sangeetha Kalpa Dhruma, for which he was awarded Degree of Doctorate in 1943 by the Travancore state.
Teachers & Influences:M. Lakshamana Suri, Sambasiva Iyer, T. S. Sabesa Iyer


Mudra:
Harikesha


Languages used:
Telugu, Sanskrit

Genre
Carnatic: Krithi

Compositions:
Adityan Devadidevam
Mayamalavagaula
Adi
Krithi
Ajam haram Ambikavanam
Nilambari
Adi
Krithi
Amba mahavani
Saraswati Manohari
Khanda Chapu
Krithi
Ambavanina
Keeravani
Adi
Krithi
Anagham akhilandam
Mandari
Rupaka
Krithi
Anandamana sangeetham
Kambhoji
Adi
Krithi
Anandapuram haram
Vijayasree
Adi
Krithi
Ananthapadmanabham
Malahari
Rupaka
Krithi
Ananthaya sarvaya
Bauli
Adi
Krithi
Andavan darisanamae
Jonpuri
Adi
Krithi
Anekatame
Vijayanagari
Adi
Krithi
Angaraka Mangalamurthye
Ritigaula
Rupaka
Krithi
Aniswaram abhishekaram
Charukesi
Adi
Krithi
Anthakasura subane
Sahana
Rupaka
Krithi
Aparajithe amarasanuthe
Kannada
Adi
Krithi
Apavarga pradam asraye
Pasupatipriya
Adi
Krithi
Arrukkum adangada
Begada
Adi
Krithi
Arya Devi
Sahana
Adi
Krithi
Astamurthim sishtamurthim
Gaulipantu
Misra Chapu
Krithi
Athisayavara
Mandari
Adi
Krithi
Atisundaram avyaktham
Simhendramadhyamam
Rupaka
Krithi
Avan seyalauni
Hamirkalyani
Adi
Krithi
Bale paripahi sahu
Begada
Rupaka
Krithi
Balochanam bhaga
Saurashtram
Misra Chapu
Krithi
Balumo samayannu
Sahana
Khanda Chapu
Varnam
Bhagala Deviya
HanumaThodi
Adi
Krithi
Bhagavate rudraya
Kurinji
Adi
Krithi
Bhajamyaham avyayam
Nagagandhari
Adi
Krithi
Bhakthavalsala paramesvara
Karnataka Bihag
Rupaka
Krithi
Bhandasuravimardini
Manirang
Rupaka
Krithi
Bhargam pasupatim
Jingla
Misra Chapu
Krithi
Bhavapasa mochakam
Pushpalatika
Jhampa
Krithi
Bhujanga Bhushana
Chenchukamboji
Adi
Krithi
Bhutha pataye namo
Nagasvaravali
Adi
Krithi
Bhuvaneswari alita
Mohanakalyani
Adi
Krithi
Bindupeetha kritavase
Huseni
Misra Chapu
Krithi
Chakra ragarathe
Dharmavathi
Rupaka
Krithi
Chakresi pradeepa sri
Chakrapradeepta
Adi
Krithi
Chandamundasiraschethry
Garudadhwani
Rupaka
Krithi
Chandrashekara vibushite
Sankarabharanam
Adi
Krithi
Charuvikrama
Hamsadhwani
Adi
Krithi
Chidanikunda sambhute
Ataana
Adi
Krithi
Dakshatvaraharam
Surutti
Adi
Krithi
Dandina Sri Chandikambe
Salaga Bhairavi
Adi
Krithi
Devam kavachinam
Bangala
Adi
Krithi
Devi damshrakarala
Hamirkalyani
Adi
Krithi
Devi Gaurininna
Gaurimanohari
Khanda Chapu
Krithi
Devi Sivadutipradae
Punnagavarali
Rupaka
Krithi
Devi Sri Mahalakshmi
Harinarayani
Adi
Krithi
Devidakshayani
Balahamsa
Rupaka
Krithi
Dhirasikhamani
Ritigaula
Adi
Krithi
Dinamani umasaga
Mayamalavagaula
Rupaka
Krithi
Ennalu tirugu
Mandari
Adi
Krithi
Gamanatham bhaje
Panchamam
Misra Chapu
Krithi
Gamganapathe namo nama
Hamsadhwani
Rupaka
Krithi
Ganesha skanda janani
Nagabhushani
Rupaka
Krithi
Garudavahana
Garudadhwani
Rupaka
Krithi
Giridhanvinam
Kokiladhvani
Adi
Krithi
Girija deviya bhajisetho
Veenadhari
Adi
Krithi
Giripriyam gangadharam
Kathanakuthuhalam
Adi
Krithi
Girisam mahesham
Kaanada
Misra Chapu
Krithi
Gopalanandana
Kathanakuthuhalam
Adi
Krithi
Gurunatha
Pushpalatika
Khanda Chapu
Krithi
Hara Maheswara
Begada
Adi
Krithi
Harihara Mahadeva
Jaymanohari
Rupaka
Krithi
Himagiri tanaye
Udayaravichandrika
Adi
Krithi
Himagirisa manomani
Isamanohari
Adi
Krithi
Ikhane tala
Guharanjini
Adi
Krithi
Ithi vela nanne
Kokilabhashini
Rupaka
Krithi
Jagadguru
Gopikavasantham
Adi
Krithi
Jalandharasupeethasthe
Valaji
Rupaka
Krithi
Jannani Ashrita
Ratnangi
Rupaka
Krithi
Japakusuma
Dhanyasi
Adi
Krithi
Jaya jaya basha
Sudha Seemanthini
Adi
Krithi
Jaya Mahishasura
Hamsadhwani
Rupaka
Krithi
Jaya Narayana
Abhogi
Adi
Krithi
Jayadevijaganmathe
Garuda Malhar
Triputa
Krithi
Jvaalajjihve
Darbar
Adi
Krithi
Kadambavanavasini
Bhoopalam
Triputa
Krithi
Kala ratri svaroopini
Urmika/Sudha
Adi
Krithi
Kalati thaya
Udayaravichandrika
Adi
Krithi
Kameswari Sri
Kurinji
Jhampa
Krithi
Kandara mandala madhyaye
Purnachandrika
Adi
Krithi
Kannan manivarnam
Kharaharapriya
Rupaka
Krithi
Kapalinam vande
Hindustani Kapi
Misra Chapu
Krithi
Karangulina Khotparana
Harikamboji
Ata
Krithi
Kartyayani skandajanani
Devamanohari
Adi
Krithi
Kausamba vasanopathe
Karnataka Kapi
Chapu
Krithi
Khanda Paradsive
Yadukulakambhoji
Adi
Krithi
Kripanidhe
Hamsanandam
Misra Chapu
Krithi
Kripasagara
Madhavamanohari
Adi
Krithi
Lalataksha namosthuthe
Natta
Adi
Krithi
Lambodara sodara
Mecha Kalyani
Eka
Krithi
Lambodhara Mahaganesa
Navarasa Kannada
Misra Chapu
Krithi
Madhu kaitabha
Arabhi
Rupaka
Krithi
Madjurapura nayike
Chakravakam
Adi
Krithi
Mahabala girisam
Saranga
Chapu
Krithi
Mahabaladri nilaye
Ramapriya
Adi
Krithi
Mahabaleswara vibho
Saranga
Rupaka
Krithi
Mahadevam
Narayani
Adi
Krithi
Mahaganapathe dehi
Malahari
Rupaka
Krithi
Maharajani mahalakshmi
Amritavarshini
Triputa
Krithi
Mahatripura Sundar
Purnachandrika
Rupaka
Krithi
Mahavishnusodari
Anandabhairavi
Adi
Krithi
Mahishasura
Andolika
Adi
Varna
Manadira kisainda
Sankarabharanam
Adi
Krithi
Manamadanguvade
HanumaThodi
Adi
Krithi
Manamu kavalannu
Sahana
Rupaka
Krithi
Manas sastvasraye
Shanmukhapriya
Adi
Krithi
Manasija janaka
Panchamam
Adi
Krithi
Manasukaragi
Megharanjini
Adi
Krithi
Mangalam pongidum
Maand
Adi
Krithi
Mangalaroopiniye
Jonpuri
Adi
Krithi
Manonmani
Subhapanthuvarali
Adi
Krithi
Mantrini matangatanaye
Hemavathi
Adi
Krithi
Marakathamanichaye
Saindhavi
Rupaka
Krithi
Mavoor valar maharani
Jonpuri
Adi
Krithi
Mavur valamperuga
Sindhubhairavi
Adi
Krithi
Meenalochani Amba
HanumaThodi
Rupaka
Krithi
Moovasaikonde
Kharaharapriya
Adi
Krithi
Mrigapane
Bhairavi
Rupaka
Krithi
Mrithuynjayam mridam
Ramapriya
Khanda Chapu
Krithi
Mula prakrithi rupe
Saveri
Adi
Krithi
Muruganukku oeru
Mecha Kalyani
Adi
Krithi
Na punyamu gada
Keeravani
Adi
Krithi
Namo hirayana
Mangalakaisiki
Adi
Krithi
Nava lavanya rupadhaye
Hindolam
Rupaka
Krithi
Navakshara manusutha
Navarathnavilasam
Adi
Krithi
Navaratrotsava
Alankari
Rupaka
Krithi
Navavarana sampoojaye
Guharanjini
Adi
Krithi
Nee padamulanu
Natabhairavi
Adi
Krithi
Needu mahima
Hamsanandi
Adi
Krithi
Ni bhaianana
Kambhoji
Adi
Krithi
Ni padame gathiyanu
Bhairavi
Adi
Krithi
Nilalohita
Malavi
Adi
Krithi
Nilayatakshi nive
Vijayasree
Rupaka
Krithi
Ninnu nammi nanu
Abhogi
Eka
Krithi
Nityakinne nishkalanke
Nattakurinji
Adi
Krithi
Pachiyana turumeni
HanumaThodi
Adi
Krithi
Panchasyayane
Kaanada
Khanda Chapu
Krithi
Panchavakthramasraye
Hamsadeepakam
Adi
Krithi
Pankajanabam
Mecha Kalyani
Adi
Krithi
Parama mangalate
Dvijayanti
Chapu
Krithi
Paramapavanane
Megharanjini
Rupaka
Krithi
Paramapurusha
Paadi
Adi
Krithi
Parasu hasthaya
Navarasa Kannada
Rupaka
Krithi
Paripurna paratpara
Kuntalavarali
Adi
Krithi
Pasupathe namosthuthe
Saindhavi
Adi
Krithi
Pasupathi padasevaname
Mecha Kalyani
Adi
Krithi
Pasupathimugram
Arabhi
Khanda Chapu
Krithi
Pasupatipriya sati
Pasupatipriya
Rupaka
Krithi
Pinakine maha prabhave
Brindavanasaranga
d
Krithi
Purandara vinuthe
Purvikalyani
Triputa
Krithi
Purarthaye namo
Hindolam
Adi
Krithi
Purusham pushadante
Devamanohari
Adi
Krithi
Rajarajeswari
Garudadhwani
Adi
Krithi
Rathnabhushani
Yadukulakambhoji
Adi
Krithi
Ratnakanjukadarini
Kambhoji
Misra Chapu
Krithi
Rohineeyam
Surutti
Khanda Chapu
Krithi
Rundamala lasat
Bhushavali
Adi
Krithi
Sachamara Ramavani
Hamsanandi
Rupaka
Krithi
Sachidananda vigrahe
Devagandhari
Chapu
Padam
Sahajaguna Rama
Sankarabharanam
Adi
Krithi
Sahasra sirsha
Sudha Lalitha
Jhampa
Krithi
Sahasrakara manadithe
Vachaspathi
Adi
Krithi
Sahasraksham sambhavam
Nayaki
Rupaka
Krithi
Sahasrapadam
Kedaram
Misra Chapu
Krithi
Sainapriya Sivasankara
Sama
Adi
Krithi
Sakala sampatprade
Ritigaula
Jhampa
Krithi
Saketha Bhupathe
Mukhari
Adi
Krithi
Sakthi Vinayaka
Sriranjini
Adi
Krithi
Samayamide nannu
Budhamanohari
Adi
Krithi
Sampathprade
Mecha Kalyani
Adi
Krithi
Sankara gangadhara
Sudha Saveri
Adi
Krithi
Sankarisathodari
Gaula
Adi
Krithi
Sannutangi
Vasantha
Adi
Varna
Sarasakshi ni
Mecha Kalyani
Ata
Krithi
Sarasamukhi
Garuda Malhar
Adi
Krithi
Saraswatidevi
Saraswati Manohari
Rupaka
Krithi
Saravanabhava
Pasupatipriya
Adi
Krithi
Sarva mangala rupadhye
Paras
Misra Chapu
Krithi
Sarvajna Samba
Ravichandrika
Rupaka
Krithi
Sarvjagatvyapanam
Manorama
Adi
Krithi
Sasisekhara
Purnachandrika
Adi
Krithi
Sathvikam sankaram
Amritavarshini
Khanda Chapu
Krithi
Satideviye
Shanmukhapriya
Adi
Krithi
Sharanam vijaya
Vijayasaraswati
Adi
Krithi
Siddhi Vinayakom
Mohanakalyani
Adi
Krithi
Sikhivahana
Hamsadeepakam
Adi
Krithi
Simhavahana Amba
Simhavahini
Rupaka
Krithi
Siva mahasena janaka
Vasantha
Khanda Chapu
Krithi
Siva siva sambho
Mecha Kalyani
Adi
Krithi
Sivam vrishbharudram
Mohanakalyani
Khanda Chapu
Krithi
Sivapriya
Sriranjini
Rupaka
Krithi
Sivaramaya sugunalaya
Keeravani
Rupaka
Krithi
Somasundara
Sarasangi
Adi
Krithi
Somasuryagni
Hamsanandi
Misra Chapu
Krithi
Sri Anjaneya
Jaymanohari
Adi
Krithi
Sri bhargavam
Sri
Adi
Krithi
Sri bhavamchinmayam
Garudadhwani
Misra Chapu
Krithi
Sri karijaya
Sri
Adi
Krithi
Sri mahabala saila
Sudha Saveri
Adi
Varnam
Sri Mahaganapathe
Kambhoji
Ata
Varnam
Sri Mahishasuramardini
Hamsagamani
Rupaka
Krithi
Sri Parameswara
Madhyamavathi
Adi
Krithi
Sri Raghuvara chinmaya
Nayaki
Adi
Krithi
Sri Raja Raja varade
Saurashtram
Rupaka
Krithi
Sri rajamatangi
Udayaravichandrika
Adi
Varna
Sri Rama kodandarama
Bhairavi
Misra Chapu
Krithi
Sri Sailabrahmambika
Kamalamanohari
Rupaka
Krithi
Sri Sambasiva sadguru
Gurupriya
Khanda Chapu
Krithi
Sri Sambasivaiya
Suryakantham
Rupaka
Krithi
Sri Shuba Devi
Jaganmohini
Rupaka
Krithi
Sri Sive jaya vaibhave
Abhogi
Adi
Krithi
Sri trilokesam
Saveri
Khanda Chapu
Krithi
Sri Virabhadram
Kannada
Adi
Krithi
Sri Virupaksha
Gauri
Khanda Chapu
Krithi
Sri Vishweswara
Harikamboji
Adi
Krithi
Srichakrapuravasini
Gamanasrama
Adi
Krithi
Srichakravara
Janaranjani
Adi
Krithi
Srikanda dayanide
Malavi
Rupaka
Krithi
Srikantha dayanidhe
Salaga Bhairavi
Rupaka
Krithi
Srimad Simhasaneswari
Sudha Saveri
Adi
Krithi
Srimad Tripurasundari
Madhyamavathi
Adi
Krithi
Srirama jayabhauma
Madhyamavathi
Adi
Krithi
Srisa raravanabhavuni
Sumanpriya
Adi
Krithi
Sritrayimurte
Jayanarayani
Rupaka
Krithi
Sudhamayi sudhanidhi
Amritavarshini
Rupaka
Krithi
Sukshmathanum
Hindola Vasantha
Khanda Chapu
Krithi
Suryacharagni
Sriranjini
Rupaka
Krithi
Tappa mannisotaye
Mayapradeepa
Adi
Krithi
Tappulanaiyu
Bauli
Rupaka
Krithi
Taraka nama
Mayamalavagaula
Adi
Krithi
Teliyakane
Huseni
Rupaka
Krithi
Thaiyidhathil anbiiatha
Jonpuri
Eka
Krithi
Tharakamsivan
Sriranjini
Adi
Krithi
Thim Thathim
Hamsanandi
Adi
Tillana
Thodu nida nive
Punnagavarali
Adi
Krithi
Thom tha thom
Kaanada
Adi
Thillana
Thyagaraja sadguruvai
Hindolam
Adi
Krithi
Tripuranthaka deva
Hindusthani Behag
Adi
Krithi
Umadeva mahanubhava
Mohana
Adi
Krithi
Urraya Avyak taya
Dharmavathi
Rupaka
Krithi
Vageeswari
Saraswati
Adi
Krithi
Vajresi mathe
Andolika
Adi
Krithi
Valli nayaka
Shanmukhapriya
Adi
Krithi
Vanchadomune
Karnaranjini
Triputa
Krithi
Vani nityakalyani
Saraswati Manohari
Adi
Krithi
Vaninivasini
Kedaram
Rupaka
Krithi
Vedamathe vedavinuthe
Natta
Adi
Krithi
Vijayambika
Vijayanagari
Adi
Krithi
Vindhyachala nivasini
Narayanagaula
Triputa
Krithi
Vyomakesam namami
Andolika
Triputa
Krithi
Yagnamayum Sankaran
Bhavapriya
Rupaka
Krithi
Yogini Ganasevitha
Vanaspathi
Adi
Krithi

Koteeswara Iyer (1870 - 1940) Biography and Works


Biography

Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi Raaga-s.


Koteeswara Iyer was born into a music famly. His grand father was the famous poet and composer Kavikunjara Bharati, a contemporary of the trinity. Koteeswara Iyer was initially trained by his grand father. Later he was trained by Ramnad Sreenivasa Iyengar and then by Patnam Subramania Iyer. Koteeswara Iyer's mudra, Kavi Kunjaradasan, shows his respect for his grand father, Kavikunjara Bharati.

Koteeswara Iyer penned over
200 compositions. He also composed a krithi in each of the 72 mela-s and published them in his book Kandha Gaanamritham. But he is well known for his Vivaadi raaga krith-s like Mohanakara (Neethimathi), Ma madhura sarasa (Ganamurthi) and Singara Kumari (Varunapriya). Famous vocalist S. Rajam is one of the artists who has sung a lot of Koteeswara Iyer krithi-s and popularized them

Teachers & Influences: Patnam Subramanya Iyer, Ramnad Sreenivasa Iyengar


Mudra: Kavi Kunjaradasan

Genre Carnatic: Krithi

Languages used: Tamil, Telugu


Compositions:
Adum azhaginile Kosalam Adi Krithi
Alagade Hatakambari Adi Krithi
Amboruha padame Natabhairavi Rupaka Krithi
Ananda rakshaka Jhalavarali Adi Krithi
Andharanga bhakthi Shadvidhamargini Adi Krithi
Anjaade Pavani Misra Chapu Krithi
Appa Muruga Divyamani Adi Krithi
Appane kapali HanumaThodi Rupaka Krithi
Arul shaiya Rasikapriya Adi Krithi
Ayyane atkol Kambhoji Triputa Krithi
Dasanena Gukasena Vanaspathi Adi Krithi
En maname Namanarayani Adi Krithi
Enai alayya Sankarabharanam Adi Krithi
Ganamudham Salagam Adi Krithi
Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi
Ghananayadesika Rishabhapriya Adi Krithi
Gitamudame Madhyamavathi Adi Krithi
Iha para sukha Suvarnangi Rupaka Krithi
Vachaspathi Rupaka Krithi
Isan Kanakasabhesan Begada Adi Krithi
Ka guha Shanmukha Kosalam Rupaka Krithi
Kaana kankodi vendum Chakravakam Rupaka Krithi
Kada bhakthachintamani Dharmavathi Misra Chapu Krithi
Kaikuda Latangi Jhampa Krithi
maname Ragavardhini Rupaka Krithi
Kali teera vandarul HanumaThodi Misra Chapu Krithi
Kanaka Mayura Jalarnavam Adi Krithi
Kanakangaka Kanakangi Adi Krithi
Kanakavela karunalavela Sri Adi Krithi
Kandaga karpaga taruve Syamalangi Misra Chapu Krithi
Kanjam konjam Suryakantham Rupaka Krithi
Kanparaiyya Kharaharapriya Rupaka Krithi
Karunai Kadale Dhenuka Adi Krithi
Karvaya kanda Dhavalambari Rupaka Krithi
Ma madhura sarasa Ganamurthi Adi Krithi
Mahaganapathe Kaanada Adi Krithi
Malaiyate maname Sarasangi Rupaka Krithi
Manade maravade Hemavathi Rupaka Krithi
Mane moham Saveri Adi Varnam
Mangalam mayitvaham Surutti Adi Krithi
Manojanaimaruganai Gaula Adi Krithi
Mohanakara Neethimathi Rupaka Krithi
Nada nilai Gayakapriya Jhampa Krithi
Nadanuasantanaa Vagadheeswari Adi Krithi
Nadasukham Kanthamani Adi Krithi
Nalagude Rupavathi Adi Krithi
Nambinen Aiyya Vakulabharanam Adi Krithi
Nan enna seyven Mayamalavagaula Adi Krithi
Nayen unaye Naganandini Adi Krithi
Neeye gati en thaye Harikamboji Adi Krithi
Ni than appa Charukesi Adi Krithi
Nijabhaktim Manavathi Rupaka Krithi
Ninnaikanome Gangeyabhushani Rupaka Krithi
Paramananda Vishwambhari Rupaka Krithi
Sulini Adi Krithi Parayunul Gaurimanohari Adi Krithi
Rama ravikulasoma Bhairavi Adi Krithi
Ranjitha kavi Sudha Saveri Rupaka Krithi
Sadanamndame Mecha Kalyani Adi Krithi
Sadananda Raghupriya Rupaka Krithi
Samaganalola Chitrambari Misra Chapu Krithi
Sambhosankara Mecha Kalyani Triputa Krithi
Sami Dikshita Devamanohari Rupaka Krithi
Sami ide nallsamayam Navaneetham Rupaka Krithi
Sami sadamuda Ramapriya Adi Krithi
Samidesamayam Kedaragaula Rupaka Krithi
Sanbho sadasiva Yagapriya Adi Krithi
Shentiruvelan Bhavapriya Adi Krithi
Singara Kumari Varunapriya Adi Krithi
Sri Venugopaladeva Darbar Jhampa Krithi
Sukha Vazhve Kokilapriya Rupaka Krithi
Sukhakara Dhatuvardhini Adi Krithi
Sukhame sukham Shanmukhapriya Adi Krithi
Tandi mamukha Natta Adi Krithi
Thandarul ayya Nasikabhushani Misra Chapu Krithi
Tharuve nin arul Varali Misra Chapu Krithi
Ullam ariyada Sriranjini Adi Krithi
Unnaiyillal Simhendramadhyamam Adi Krithi
Va velava va Tanarupi Jhampa Krithi
Vaaranamukha va tunai Hamsadhwani Rupaka Krithi
Varnam tarum Jhankaradhwani Misra Chapu Krithi
Velaiya dayi Saveri Adi Krithi
Velanai vere gathi Subhapanthuvarali Misra Chapu Krithi
Velava va adiyen Arabhi Rupaka Krithi
Velave va Keeravani Jhampa Krithi
Velu mayilu me Sucharitra Rupaka Krithi
Viraraghava Gavambodhi Adi Krithi
Yedum ariyene Sahana Jhampa Krithi

Wednesday, August 15, 2007

Subramania Bharathi (1882-1921) Biography And Works

Biography
Subramania Bharathi was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in 1882 at Ettayapuram. He lost his mother at the age of 5. He learnt music from very young age and at 11 and was invited to a conference of Ettayapuram court poets and musicians for composing poems and songs. He accepted a challenge and composed a chindu on the model of kaavadi chindu of Annaamalai Reddiyaar. There he was given the title 'Bhaarati' for his ability to compose poems and songs.

At the age of 15 he married Cellammaal and in 1898 lost his father. At 22, he became Tamil teacher at Setupati High School in Madurai and the same year was appointed Assistant Editor of a daily newspaper called "Swadesamitran." In 1906, he was editor of a weekly magazine called "India" in Madras and the next year a friend of his, Krishnaswaamy Aiyyar received from him songs he had composed on patriotism and published them, titled "SudEsa geetangaL." In 1908 the government wanted to arrest him, but he escaped to PonDicerry (under French rule) and published "India" from there.

In 1912 he translated the Bhagavad Geeta into Tamil and composed songs on Krishna (KaNNan PaaTTu), "Kuyil," and "Pancaali Shabadam" (on Draupadi of the Mahaabhaarata).

His national integration songs earned him the title "DEsiya Kavi" (National Poet).His patriotic songs emphasize nationalism, unity of India, equality of man and the greatness of the Tamil language. He sang these himself at Congress meetings at the Madras beach. He composed tamil keertanais on love, devotion,fearlessness, mysticism.

His stepbrother C.Vishwanaata Aiyyar and V.V.S. Aiyyar tell us that he himself set his songs to music and could sing them well in a variety of raagams. In "Bharata dEviyin tiru dasangam" he used 10 raagams.

In an article "Sangeeta Vishayam" (Issues in Music), Bhaaratiyaar rebukes musicians PaTnam Subramania Aiyyar and others for singing songs of the Trinity, without knowing the meaning because the songs are all in Sanskrit or Telegu. According to him, without knowing the meaning, singers are unable to sing with proper expression. He also saysthat songs usually portray devotion and love and not other emotions like courage, anger, wonder,fear, and hatred. He emphasized that musicians should not sing songs which they don't understand and should learn from Hindustani musicians how to train their voices.

He died in an accident on September 11, 1921 at the age of just 39.

Compositions:

Appavum ponnadi Jaymanohari Adi Krithi

Bharatha samudayam Hindusthani Behag Eka Padam

Chinna chiru kiliye Bhairavi Rupaka Krithi

Dikkuteriyada HanumaThodi Adi Krithi

Endaiyam tham Kambhoji Adi Krithi

Jayamundu bhayamillai Khamas Adi Krithi

Jiva padagai Anandabhairavi Adi Krithi

Jnanappal arulvai Saramati Adi Krithi

Kaathirukunren Sama Adi Krithi

Kanavendamo Sri Rupaka Krithi

Kanene en kanavan Mecha Kalyani Adi Krithi

Kanika kondutaram Varali Eka Krithi

Karumbu thottathile Saindhavi Misra Chapu Krithi

Malai pozhidil Nadanamakriya Adi Krithi

Mannar kulathinadi Nadanamakriya Adi Krithi

Muruga Muruga Nattakurinji Adi Krithi

Nenjukku neethi Sindhubhairavi Adi Krithi

Neram mikandidu Nadanamakriya Adi Krithi

Nithyamunai vendi Chakravakam Eka Krithi

Pillai prayathile Saraswati Manohari Eka Krithi

Sakthi tanake Bhoopalam Eka Krithi

Thanjamulakinil Punnagavarali Adi Krithi

Ujjaiyini Hindolam Adi Krithi

Umayirundavar Kambhoji Adi Krithi

Unnai yenamayil Kharaharapriya Adi Krithi

Vandadum cholai Harikamboji Adi Krithi

Veene Sheshanna (1852-1926) Biography

Biography


Veene sheshanna is perhaps the most famous musician of the Mysore royal court and proponent of the famous Mysore Bani i.e. school of veena playing. He also represents the times when Mysore royal court was the cultural capital of the south.


Born into a family of musicians, he learnt from his father Bakshi Chikka Ramappa who was the court musican in the court of the Mysore king of the time Mummadi Krishnaraja Wodeyar. He was a child prodigy and gained acceptance of the court even at the age of just ten. Later he learnt vocal music under the famous vocalist
Mysore Sadashiva Rao.
Apart from Veena, he was adept at playing many instruments like piono, sitar and violin. He also learnt Hindustani music and even western classical. He was also a composer.

HISTORY OF CARNATIC MUSIC

HISTORY OF CARNATIC MUSIC

The history of Carnatic music can be studied based on three major periods of development, namely, Ancient, Medieval and Modern. Let's now look into the finer details of each.

THE ANCIENT PERIOD (Vedic period - 4th Century AD)

This was the vital period in the history of Indian music. During this period there is no mention of the term, Carnatic music, in any of the sources, but there is sufficient reason to believe that this period was crucial to the original development of Carnatic music. Some important references are cited here:

Vedas:

* Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as archika, which later developed into the two toned chant (gatika). This was subsequently replaced by a three-toned chant, samika, which had a main tone and two accents, one higher and one lower. Sama Veda is considered as the main source for the development of Indian music and the first full scale with seven notes in the descending order are seen in the rendering, even to this day. The melody is close to the scale of the raga, Kharaharapriya (22nd Melakarta) or Natakapriya (10th Melakarta).

* Several references to music of musical instruments are seen in the Vedas.

* One of the earliest references to musical theory is found in the Rik Pratisakya (around 400BC), which mentions the origin of seven notes from the three notes.

* Upanishads (the concluding part of Vedas), containing the essence of Vedas (100 BC - 300 BC), mention the musical notes and gives other musical references. Musical instruments like the Vina and Dundubhi are mentioned in the Brihadaranyaka Upanishad.

* The two great epics, Ramayana (circa 40 BC) and Mahabharata, also have several musical references.

* There is also a mention of Gandharvas [(demi-gods) (600 - 500 BC)], who were exceptionally versatile in music. Bharata in his Natyasastra, also acknowledges saying that music belonged to the Gandharvas.



Bharata's Natyasastra (The 2nd - 4th century AD)

This is the earliest treatise to extensively elaborate on the science of music and dance. Music is dealt only partly in this treatise. Yet, various aspects like the ancient melodies (Jaatis) which are the archetypes of Ragas, their characteristic features, structure and the classification of the ancient instruments have been made in this work. The notes (swaras), their varieties, combination (varnas) and other such aspects are also elaborately described.

Bharata has given the fundamentals of music as comprising Swara, Tala and Pada. The music till Bharata’s period was known as Marga (literally meaning way).

In the ancient period, the native Dravidians of the south had their own style, which is generally called Tamil music, owing to the native regional language of the area. The Sangam literature till 3rd AD, in particular, has many references to this style. Works like Silappadikaram of Ilango Adigal, and its commentaries, describe the logical derivations of the important scales through the modal shift of tonic. The Tamil names of these notes have also been mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references. Some of these descriptions and references correspond to contemporary Carnatic music concepts. (Also see Tamil music).

MEDIEVAL PERIOD (5th - 16th Century AD)

During this period, many important musical concepts evolved in clear terms and in this period, more care was taken to put into record, some of the important musical developments by several music scholars, to enable us to have proper historical links. Several musical composers and luminaries have also lived during this period.

* The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to mention the word, Raga. This text also gives the names of the then popular Ragas, with their suitable structures, and a basic classification system. The other notable feature during that period was the gradual development of the art of music as an independent form, breaking away from being overly dependent on forms of dance and drama.

* The Kudimiyanmalai inscriptions in a cave, near Pudukottai (Tamilnadu), has an array of musical diction (notation) of South Indian music in the 7th century AD. The Tevarams (6th - 9th century AD), songs in praise of Lord Siva, used more than 20 scales with Tamil names, which were equivalent to the present system of Carnatic music. Many of these Tevarams are still rendered as musical pieces in concerts. This corpus, along with the Divya Prabandham (compositions of the Vaishnavite Azhwars, 6th - 8th century AD), have been a significant contribution of the Tamil speaking region to Carnatic music.

* The Tiruppugazh of Arunagirinathar, who lived around the 15th century, is another inspiring Tamil work which significantly affected Carnatic music. This has complex rhythmic meters, which remain unique and unsurpassed in their grandeur.

* The Gita Govinda of Jayadeva (12th century) is a monumental work of the medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The rhythmic meter is determined by the meter of the verse. These were, probably, the earliest examples close to the regular musical compositions and are called Ashtapadis (ashta meaning eight and padi meaning foot). These are popular throughout India even today, though the original tunes are lost. Contemporary musicians from both the Carnatic and Hindustani traditions have set these songs to music independently.


Sangeeta Ratnakara

An important musical treatise was written by Sarngadeva (1210-1247). This work contains five thousand couplets in Sanskrit written in nine chapters, comprehensively covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments), Gamakas (ornamentations) and other such aspects. This work establishes the complete growth of Indian music from the period of the Natya Sastra (2nd century) to the 13th century. This work stands out particularly as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music. The music between the period of Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.

Sarngadeva’s work inspired many later scholars who wrote musicological treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have been a lull in the theoretical development for almost two centuries. Ramamatya wrote his treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga and Vina technique must be accredited to him. His effort served as a firm and fitting foundation to the growth of the modern music system and may be considered as the milestone in the scientific development of our music.


Musical Forms

This period gradually traces the evolution from Gandharvagana forms like Dhruvagana of Bharata’s period, through the different kinds of Prabandhas, to the present day forms. Several important forms were composed during this period - Tevaram, Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams, Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.

Tallapakkam Annamacharya (1425 - 1503 AD), composed in a new form called Kriti, having three sections, namely the Pallavi, Anupallavi and Charanam. This pattern became widely accepted and was popularised by later composers, in particular, the Trinity. This stands out as an outstanding contribution of Annamacharya to the practical side of our music. He is credited to have composed about thirty two thousand compositions of which around twelve thousand have been traced and some of these have been still preserved in copper plates. The Kritis were not as complicated as the earlier Prabandha forms.

Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the grandfather of Carnatic music). A prolific composer, he laid the foundation for the systematic learning of the system and he is credited to have formulated the swara exercises for practice, apart from composing simple songs, Gitams, and a number of compositions (Kritis) with high philosophical import.

In short, during the medieval period, one can say that Carnatic music gradually attained its individuality built over a historically strong foundation. In particular, after the 13th century, no major treatise is seen from the North. Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number of classic monumental works being produced in both the theoretical and practical aspects of music

MODERN PERIOD (17th century to present day)

The 17th century can be considered as a golden age of Carnatic music. It marks several important milestones of Carnatic music in diversified angles, thus, enriching this traditional art form, while preserving the past glories. Some of the most important developments in both Lakshana (theoretical) and Lakshya (practical) aspects took place during this period.


Theoretical aspects


The well structured 72 Melakarta scheme was formulated by Venkatamakhi in his treatise Chaturdandi Prakasika in 1660 AD. This scheme is the proud heritage of our music, and is not simply of academic interest, but also has immense practical value to all musicians, musicologists and students. Other important treatises on music written during this period are the Sangeeta Saramrita of Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha Choodamani of Govinda (1750 A.D).

By the end of the 19th century, notational schemes were developed, for written representation of musical compositions. These were published in works like Subbarama Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s Tamil work, Sangeeta Chandrikai. A M Chinnasami Mudaliar published south Indian music compositions written in western staff notation. These early pioneers in recent times have paved the way for a research-oriented understanding of this practical art form.

While the theoretical works were trying to keep pace with the practical music, the practical music itself was evolving continuously and a number of luminaries have made a tremendous impact on refinement of this art form, to keep it fresh and alive.

Practical aspects


In the 18th century, within a short period from 1763 - 1775 AD, were born the three great composers of Carnatic music, who were later to be celebrated as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847) and Muthuswami Dikshitar (1776-1835). All of them combined their immense knowledge, deep spirituality and profound traditional musicianship with an amazing sense of creativity and innovative spirit. This has made their contribution to Carnatic music invaluable. The art of musical composition was elevated to great heights at their hands. It can confidently be asserted that all later composers have tried to live up to the standards set by these three bright stars. Other great composers who have contributed to the vast repertoire of Carnatic music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer, Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan. (Also see Galaxy of Composers)

Musical concepts


The 72 Melakarta scheme was responsible for the transformation in the Raga system of Carnatic music. Several new Ragas came into existence and were popularised by means of compositions tuned by the Trinity of composers along with others who followed the 72 Melakarta scheme. Many different kinds of musical compositions developed, having different structural arrangements (musical forms). These include the Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have continued to remain popular in the 20th century.

Till the end of the 19th century, the patronage of Carnatic music and musicians was mostly limited to the major temples and royal courts, as also a few rich landowners, who arranged concerts for various events. In the 20th century, the patronage has taken a different shape, with the advent of a number of organisations (Sabhas) and corporate sponsors who have brought a more professional outlook to this traditional art-form. As a result, Carnatic music is now heard in all major Indian cities, as also in major centers in Asia, Europe and America.

Music Education


The learning and teaching processes have also adopted themselves to the changes in the living style, over the years. The traditional Gurukula system has given way to an institutional system of training in the 20th century. Several good musicians have taken to teaching as their profession. Modern educational tools have been pressed into service, with the growth of recording technology. From analog tape recorders to state of the art computers and internet connections are being put to use in imparting musical education worldwide.

The written musical notation system has undergone several changes over the years and has been used as a reference material for learning. Research oriented study and documentation of musical forms have also increased over the years. A number of books in different languages, by musicians and musicologists, have also been useful to understand the different concepts of this system of music. The involvement of mass media and communications has been a vital factor in the increase in interest of the unexposed, to this traditional art form. Through all this change, Carnatic music has not only gained new vigour, but has also retained its freshness within the traditional framework of this system.


Thursday, August 16, 2007

Jayachamaraja Wodeyar (1919 - 1974) Biography and Works

Biography

Jayachamaraja Wodeyar was one of the rare Kings who was also an important musicologist and composer. Perhaps he was following the example set by Travancore king - composer Swati Tirunal and the last Mughal emperor - ghazal poet Bahadur Shah Zafar .
Jayachamaraja Wodeyar was born in Mysore on 18th July, 1919 as the son of Kanteerava Narasimharaja Wodeyar. He received traing from ashtana vidhwans in all arts and sciences. Mysore kings were great patrons of art and music. They had in their court great musicians from all over India, both Carnatic and Hindustani.
Jayachamaraja Wodeyar ascended to the throne in 1940, after the death of Chamaraja Wodeyar IV and ruled till 1950, when he handed over the state to the Indian republic, ending 550 years of Wodeyar rule. But, he continued to be the constitutional head of Mysore state as the Raja Pramukh (1950-56), till the post was abolished. He was then the first governor of Mysore state (1956-65) and also Madras state (1964-67).
As a great patron of music, he had several artists in his court - Tiger VaradachariarMysore Vasudevachar, Muthaiah Bhagavathar, Gotuvadyam Narayana Iyengar and Ariyakudi Ramanuja Iyengar. Jayachamaraja Wodeyar composed about 90 krithi-s in Sanskrit, some in rare raaga-s like Bhogavasanta, Durvangi. He had great interest in western music too. He was the recipient of D.Lit from Queensland University, Australia, Doctor of Law from Banaras University, and D.Lit from Annamalai University. He was honorary Fellow of Trinity College of Music, London, in the year 1945.
Mudra: Shrividhya

Genre Carnatic: Krithi, Varna
Languages used:
Sanskrit

Compositions:
Ambujakshi
Simhavahini
Rupaka
Krithi
Balakrishnam
Nilaveni
Adi
Krithi
Bhajare mohana
Bhanuchandrika
Rupaka
Krithi
Bhooribhagyalahari
Pratapavarali
Adi
Krithi
Brahmananda valaye
Maand
Triputa
Krithi
Chintayami Jagadambha
Hindolam
Adi
Krithi
Chinthaye sada
Sindhuramakriya
Adi
Krithi
Chintyami santhanama
Varunapriya
Adi
Krithi
Devi Jadambika
Vasantha Bhairavi
Khanda Jhampa
Krithi
Devi Sri Meenakshi
Chakravakam
Triputa
Krithi
Gam Ganapathi
Durvangi
Triputa
Krithi
Gamganapathe sada
Nagasvaravali
Adi
Krithi
Kamakshi pahi mam
Shivakambodi
Khanda Triputa
Krithi
Kshirasagara
Mayamalavagaula
Dhruva
Krithi
Manavathim
Kokilapriya
Adi
Krithi
Matanga kanyam
Sudha Thodi
Khanda Triputa
Krithi
Mrithunjayam
Ragavardhini
Triputa
Krithi
Nadarupini vandeham
Kokilapanchamam
Adi
Krithi
Nagalinga Maheswaram
Sankarabharanam
Rupaka
Krithi
Neelakantam Mahadevam
Purvikalyani
Misra Triputa
Krithi
Pahi mam
Supradeepa
Adi
Krithi
Pahimam Sitarama
Hindola Desika
Adi
Krithi
Pahimam Sri
Jayasamavardhani
Khanda Triputa
Krithi
Pahimam Sri Parameswari
Hindola Durbar
Rupaka
Krithi
Paripahi mam
Subhapanthuvarali
Adi
Krithi
Rajarajeswarim
Balachandrika
Khanda Triputa
Krithi
Saraswathim bhagavathim
Hamsavinodhini
Khanda Chapu
Krithi
Sri Chakrapurvasini
Sudha Lalitha
Adi
Krithi
Sri Gayatri
Gamanasrama
Druva
Krithi
Sri Jalandhara masrayamyaham
Gambhiranatta
Adi
Krithi
Sri Nagalingam
Vachaspathi
Jhampa
Krithi
Sri Ranganathani
Kalyanavasantham
Jhampa
Krithi
Sri vidya lalitham
Nadabrahma
Adi
Krithi
Sri Vidyamodini
Kokilabhashini
Tisra Triputa
Krithi
Sri Vidyapati
Lalitha Panchamam
Adi
Krithi
Srichamundeswari
Kannada
Adi
Krithi
Srilalitham maha
Nagadhvani
Khanda Triputa
Krithi
Suranandinee
Suranandini
Adi
Krithi
Suvarnangi
Suvarnangi
Misra Jhampa
Krithi
Swaminatha palaya
Charukesi
Triputa
Krithi
Vandeham Sive
Kathanakuthuhalam
Matya
Krithi
Vandehamsada
Hamsanatini
Adi
Krithi
Vijayatam sagare
Vishwambhari
Triputa
Krithi
Vimalambike paripahim
Vijayavasantha
Adi
Krithi

Papanasam Shivan (1890 - 1973) Biography and Works

Biography
Papanasam Shivan is the most important Carnatic Composer in Tamil. He has composed over two thousand songs in seventy five raaga-s. He is known as Tamil Thyagaraja.
Papanasam Shivan was born in 1890 in Polaham, Tanjavur district. His real name was Polagam Ramaiah. His father passed away very early, forcing his mother to move to Thiruvananthapuram. Papanasam Shivan studied Sanskrit at Maharajah's college. His musical training was mostly informal. He was guided and influenced by Neelakanta Sivan and Konerirajapuram Vaidyanatha Iyer. The limited formal training he had was from Samba Bhagavatar and Mahadeva Bhagavatar. He also never had any formal training in Tamil.
He was a teacher at Kalakshetra for sometime. During that time he got a big break and started working for the Tamil music indutry. About 800 of his compositions would be for the film industry. He is perhaps the only Carnatic composer to have so extensively worked for the film industry. Papanasam Shivan's carnatic compositions were mostly spontaneous and noted down by others. His compositions were mostly in Tamil, even though he has some Sanskrit compositions. In 1972 he was awarded, belatedly, Sangeetha Kalanidhi by Madras Music academy.

Mudra: Ramadasan

Genre Carnatic: Krithi, Varna, Thillana



Languages used: Tamil, Sanskrit


Compositions:


Composition
Raaga-Taala-Type


abhayAmbikA ramaNa
shankarAbharaNa-Adi-krithi


adbhuta lIlaigaLai
madhyamAvati-Adi-krithi


aDimai ennai
mukhAri-rUpaka-krithi


aDimai mEl
nATa-Adi-krithi


aDimaiyin uLLa (kaNNigaL)
vasantA-Adi-krithi


aDimalariNai
paraju-Adi-krithi


aDittAlum unai
nATa-Adi-krithi


ADiya pAdattai
kAmavardhini-Adi-krithi


ADum deivam
kAmbhOji-Adi-krithi


AduvOm vArungaL
kEdAra-Adi-krithi


aiyA nin
bilahari-Adi-krithi


aiyan tiruvaDiyai
rAgam: pUrvikalyANi-Adi-krithi


aiyappanai paNivOm
Arabhi-Adi-krithi


akhilANDa nAyaki
shankarAbharaNa-Adi-krithi


akhilANDeshvari
shri-Adi-krithi


aLavilAda Anandam
bhairavi-Adi-krithi


aLavillaiyE
mukhAri-dEshAdi-krithi


amalE amarargaL (bhajan)
kuntalavarALi-Adi-krithi


ambA manam
kAmavardhini-Adi-krithi


ambA un mEl
behAg-Adi-krithi

ambA un pAdam
gambhIranATa-Adi-krithi


ambA unaiyE
shankarAbharaNa-dEshAdi-krithi


Ananda naTamADum ayyan
shuddhadhanyAsi-rUpaka-krithi


Ananda naTamiDum
kEdAragauLa-Adi-krithi


Anandabhairavi anaiyum
Anandabhairavi-Adi-krithi


AnandamE paramAnandamE
kAmbhOji-Adi-krithi


anbilaiyE
khamAs-rUpaka-krithi


ANDavan anbE shakti
shivaranjani-Adi-krithi


ANDavan nIyE
mAyAmALavagauLa-Adi-krithi


ANDavanai nambu
sAma-Adi-krithi


ANDavanE unai
SaNmukhapriya-rUpaka-krithi


anjalenrE
rAgam: bilahari-Adi-krithi

annaiyin kAlil
rAgamAlikA-Adi-krithi


annaiyum tandaiyum
kApi-Adi-krithi


anudinamunai
madhyamAvati-Adi-krithi


appan avataritta
kharaharapriyA-Adi-krithi


appanum ammaiyum
aThANA-Adi-krithi


AraNa poruLE
dEvagAndhAri-Adi-krithi


AraNamum Agamum
kharaharapriyA-jhampa-krithi


aruL puri
sarasvati-Adi-krithi


arumukhA
shuddhasAvEri-Adi-krithi


aruT-tivilai
rAgam: husEni-Adi-krithi


attaruNam
bhairavi-Adi-krithi


avAng manasa
cakravAka-Adi-krithi


bAla pAhi
nIlAmbari-Adi-krithi


bAlakrSNa mAm pAhi
sAvEri-Adi-krithi


bAlakrSNan
dhanyAsi-rUpaka-krithi


bAlasubramaNya
kEdAragauLa-rUpaka-krithi


bhAgavatOttama
behAg-Adi-krithi


bhajanai sheivAi
behAg-Adi-krithi


bhajanai sheivOm
naTabhairavi-Adi-krithi


bhArata mAtA
naTabhairavi-Adi-krithi


bhArata puNya bhUmi
kuntalavarALi-Adi-krithi


bhUmiyil mAniDa (kaNNigaL)
sindhubhairavi-Adi-krithi


bhuvana patI
kAmbhOji-Adi-krithi


bhuvanEshvari pAdam
bEgaDa-rUpaka-krithi


bhuvanEshvari pughal
maNirangu-dEshAdi-krithi


bOdhendra gurumUrti
pUrvikalyANi-Adi-krithi


cAmuNDEshvari
sAvEri-Adi-krithi


candra kalAvatam
shankarAbharaNa-Adi-krithi


caraNa pankajam
mAyAmALavagauLa-cApu-krithi


caraNAmbujam
shuddhasAvEri-Adi-krithi


cidambara nAthA
hEmavati-Adi-krithi


cintai teLindu
kalyANi-rUpaka-krithi


cittam irangAdEnaiyyA
shahAnA-cApu-krithi


daNDapANi padam
rAgaA: maNirangu-Adi-krithi


dasharatAtmajam
pUrvikalyANi-rUpaka-krithi


dayAnidhE jAnakIpatE
nATa-Adi-krithi


dayAparan shankaran
kharaharapriyA-Adi-krithi


dayavillaiyA dayALO
kharaharapriyA-Adi-krithi


deivam tuNai
SaNmukhapriyA-Adi-krithi


dEsha sEvai
mAND-Adi-krithi


dEva dEvanai
cenjuruTTi-rUpaka-krithi


dEvadEvan pAdam
khamAs-Adi-krithi


dEvi nin
bEgaDa-Adi-krithi


dEvi nIyE
kIravANi-Adi-krithi


dEvi pAdam
tODi-Adi-krithi


dEvI shrI
kalyANi-Adi-krithi


dEvi undan
mukhAri-Adi-krithi

dharma samvardhani
nATakuranji-Adi-krithi


dhIm tarana (tillAnA)
SaNmukhapriyA-Adi-krithi


dhyAnamE enadu
kApi-Adi-krithi


dikku vErillai
varALi-Adi-krithi


dinam IdE
bhUpALa-Adi-krithi


durgAlakSmi
Arabhi-Adi-krithi


ellAm avan sheyal
tODi-cApu-krithi


ellAm brahmamayam
behAg-Adi-krithi


en manam
simhEndramadhyam-Adi-krithi


enadu manam
harikAmbhOji-Adi-krithi


enadu uLLamE
cenjuruTi-rUpaka-krithi


enda vidam
mukhAri-jhampa-krithi


endai gOvindan
bilahari-Adi-krithi


engum niraindirukkum
kurinji-Adi-krithi


enna sheidAlum
kharaharapriyA-Adi-krithi


enna tavam
kApi-Adi-krithi


ennai kAttaruLvadu
hEmavati-Adi-krithi


ennai shOdanai
kalyANi-cApu-krithi


ennai viTTODAdEDA
mOhana-Adi-krithi

ennALum inda
rAgAmukhAri-Adi-krithi


Enunakkinnum
kApi-Adi-krithi


gajavadana
shrIranjani-Adi-krithi


gAna rasamuDan
bEgaDa-rUpaka-krithi


gaNapatiyE karuNAnidhiyE
kharaharapriyA-Adi-krithi


gAndhijiyAi
hamsadhvani-Adi-krithi


gAndhiyai pOloru
cenjuruTi-Adi-krithi


gangai aNi
tODi-mishra Eka-krithi


garbhavAsam ariyAda
hamsadhvani-Adi-krithi


gati nIyE
sahAnA-Adi-krithi


gati udavum
RAgamAlika-jhampa-krithi


gaurImanOhara
gaurimanOari-Adi-krithi


gOkulam yamunai
dEs-Adi-krithi


gOmati tAyE
yadukulakAmbhOji-Adi-krithi


gOpAla sajjana
dhanyAsi-Adi-krithi


gOpAlanE deivamAm
khamAs-Adi-krithi


grahangaLim
bhairavi-Adi-krithi


guruvAyUrappA
cakravAka-Adi-krithi


haranE innum
karnATakabehAg-Adi-krithi


iDadu padam
khamAs-Adi-krithi


iDaiyarAdun
sahAnA-Adi-krithi


iddaraNiyil
bEgaDa-cApu-krithi


ihaparamenum iru
simhEndramadhyam-Adi-krithi


illai enra
kharaharapriyA-tisra Adi-krithi


inbamenbadu
kAnaDA-Adi-krithi


inda parAmukhamA
mAyAmALavagauLa-rUpaka-krithi


indrajAla (kaNNigaL)
kAmavardhini-Adi-krithi


Ini oru kaNam
shrIranjani-rUpaka-krithi


IshananbAr
kApi-rUpaka-krithi


IshanE inda
cakravAka-rUpaka-krithi


jAnakIpatE
kharaharapriyA-Adi-krithi


jaya bhErikai
kAmbhOji-Adi-krithi


jaya jaya guhA
shuddhadhanyAsi-Adi-krithi


jaya vijayIbhava
mAND-Adi-krithi


jaya vIra
paraju-Adi-krithi


jaya viTThala
bilahari-rUpaka-krithi


jE paNDarIsha
sOhini-Adi-krithi


jnAna sabhaiyil
sArangA-cApu-krithi


jyOti mayamAna (kaNNIgaL)
kuriniji-Adi-krithi


kaDaikkaN nOkki
tODi-Adi-krithi

kaDaikkaN pArvai
khamAs-Adi-krithi


kAdali rAdhaiyai
kharaharapriyA-Adi-krithi


kaDalil amizhndiDuvOm
maNirangu-Adi-krithi


kadir kAma
kAmbhOji-tisra tripuTa-krithi


kai koDuttALaiyyA
bEgaDa-Adi (2 kaLai)-krithi


kailAsacala vAsA
hindOLa-Adi-krithi


kaimmAru sheivaduNDO
kEdAragauLa-Adi-krithi


kAl mAri ADum
dEvamanOhari-dEshAdi-krithi


kali tIrumO
tODi-dEshAdi-krithi


kallAda Ezhai
sAvEri-Adi-krithi


kalpakAmbikA
harikAmbhOji-Adi-krithi


kalpakAmbikai nI
behAg-rUpaka-krithi


kalpakAmbikai uNDu
shuddhasAvEri-khaNDa jhampa-krithi


kalpakAmbikaiyin
rAgam: latAngi-Adi-krithi


kalpakAmbikE shrI
bhairavi-rUpaka-krithi


kalyANi karuNAnidhi
KalyANi-Adi-krithi


kAmAkSi gauri
sAvEri-Adi-krithi


kamala malaridazh
kalyANi-Adi-krithi


kamalAmbA anaiyE
shankarAbharaNa-Adi-krithi


kamalappada malariNai
harikAmbOji-Adi-krithi

kAmAntakA
kApi-Adi-krithi


kAmattai jayikkAdavan
dhanyAsi-cApu-krithi


kAmEshvarA
kalyANi-dEshAdi-krithi


kan manam
surAti-Adi-krithi


kANa Aval
mOhana-Adi-krithi


kANa vENDAmO
shrIranjani-rUpaka-krithi


kANa virumbum
mukhAri-Adi-krithi


kanaka sabhaiyai
hindustAnikApi-rUpaka-krithi


kANakkaN kOTi
kAmbOji-Adi-krithi


kandA vandaruL
AbhEri-Adi-krithi


kanindaruL
kalyANi-tisra Adi-krithi


kanja malaraDi
shankarAbaraNa-Adi-krithi


kaNNA kAttaruL
madhyamAvati-Adi-krithi


kaNNan madhura idazhai
bhImpalAs-Adi-krithi


kaNNan mALigaikkE
aThANA-Adi-krithi


kaNNanai paNi
SaNmukhapriyA-Adi-krithi


kaNNE en kaNmaiyE
kurinji-tisra Adi-krithi


kAntimati annai
kAnaDA-cApu-krithi


kapAli irukka
sAvEri-khanDa jhampa-krithi


kapAli karuNai nidhi
hamsadhvani-Adi-krithi

kApAli karuNai nilavu
mOhana-Adi-krithi


kapAlIshanE
khamAs-Adi-krithi


kAriruLokka
kharharapriyA-Adi-krithi


karpaka manOhara
malayamAruta-khaNDa jhampa-krithi


karpaka vallI
ragamAlikA-Adi-krithi


karpaka valliyin
Arabhi-Adi-krithi


karpakAmbikE
bilahari-rUpaka-krithi


karpakamE
madhyamAvati-Adi-krithi


kArtikEya gAngEya
tODi-Adi-krithi


karuNA nidhiyE
bauLi-tisra tripuTa-krithi


karuNai puri
tODi-Adi-krithi


karuNai sheivAi
hamsadhvani-dEshAdi-krithi


karuNai varumO
cArukEsi-Adi-krithi


karuNakaranE shiva
kIravANi-Adi-krithi


karuNAnidhiyE
kuntalavarALi-Adi-krithi


karuNAnidhiyE kaDaikkaN
kuntalavarALi-Adi-krithi


konjam dayai
shankarAbharaNa-cApu-krithi


kOsalai pudalvanai
rAgamAlikA-Adi-krithi


krSNA mukundA
navarOj-Adi-krithi


krSNa nAma
behAg-dEshAdi-krithi

Muthaiah Bhagavathar (1877 - 1945) Biography and Works

Biography
Dr. Harikesanallur Muthaiah Bhagavathar is one of the most important post-trinity composers and an important vocalist as well.
Muthaiah Bhagavathar was born to Lingam Iyer and Anamdam in 1877. After the early death of his father, he was brought up by his maternal uncle Lakshamana Suri of Harikesanallur, who taught his Sanskrit, Vedas and music. He got further musical training from Sambasiva Iyer and his son T. S. Sabesa Iyer, who belonged to the Thyagaraja shishya parampara.
As a vocalist, his big break came when in 1887 he sang before Maharaja Mulam Thirunal of Travancore who honoured him as a court musician. This established him as one of the front ranking musicians of the time. Later he started giving Harikatha performances, for which he earned the name Bhagavathar. This was the time he started composing, which he would use in his Harikatha-s.
The next phase of his life was as a court musician in Mysore, from 1927. Most of his compositions were from this period. Initially he composed mostly in Madhyakala, like Shri Tyagaraja. After 1931, he was influenced by Muthuswamy Dikshitar compositions and started compoing in vilambita kala. In 1936, he was again invited by Maharani Sethu Parvathi of Travancore and he spent several years there. during that time, one of his major contributions was popularising Swati Tirunal compositions. He was also the first prinicipal of "Swathi Thirunal Academy of Music" there.
Apart from being a vocalist and composer, Muthaiah Bhagavathar was also a learned musicologist. He was actively involved in the Annual Conference of Experts conducted by The Music Academy of Madras. In 1930 he was awarded the Sangeetha Kalanidhi by the academy. He also wrote a book on the science of music, Sangeetha Kalpa Dhruma, for which he was awarded Degree of Doctorate in 1943 by the Travancore state.
Teachers & Influences:M. Lakshamana Suri, Sambasiva Iyer, T. S. Sabesa Iyer


Mudra:
Harikesha


Languages used:
Telugu, Sanskrit

Genre
Carnatic: Krithi

Compositions:
Adityan Devadidevam
Mayamalavagaula
Adi
Krithi
Ajam haram Ambikavanam
Nilambari
Adi
Krithi
Amba mahavani
Saraswati Manohari
Khanda Chapu
Krithi
Ambavanina
Keeravani
Adi
Krithi
Anagham akhilandam
Mandari
Rupaka
Krithi
Anandamana sangeetham
Kambhoji
Adi
Krithi
Anandapuram haram
Vijayasree
Adi
Krithi
Ananthapadmanabham
Malahari
Rupaka
Krithi
Ananthaya sarvaya
Bauli
Adi
Krithi
Andavan darisanamae
Jonpuri
Adi
Krithi
Anekatame
Vijayanagari
Adi
Krithi
Angaraka Mangalamurthye
Ritigaula
Rupaka
Krithi
Aniswaram abhishekaram
Charukesi
Adi
Krithi
Anthakasura subane
Sahana
Rupaka
Krithi
Aparajithe amarasanuthe
Kannada
Adi
Krithi
Apavarga pradam asraye
Pasupatipriya
Adi
Krithi
Arrukkum adangada
Begada
Adi
Krithi
Arya Devi
Sahana
Adi
Krithi
Astamurthim sishtamurthim
Gaulipantu
Misra Chapu
Krithi
Athisayavara
Mandari
Adi
Krithi
Atisundaram avyaktham
Simhendramadhyamam
Rupaka
Krithi
Avan seyalauni
Hamirkalyani
Adi
Krithi
Bale paripahi sahu
Begada
Rupaka
Krithi
Balochanam bhaga
Saurashtram
Misra Chapu
Krithi
Balumo samayannu
Sahana
Khanda Chapu
Varnam
Bhagala Deviya
HanumaThodi
Adi
Krithi
Bhagavate rudraya
Kurinji
Adi
Krithi
Bhajamyaham avyayam
Nagagandhari
Adi
Krithi
Bhakthavalsala paramesvara
Karnataka Bihag
Rupaka
Krithi
Bhandasuravimardini
Manirang
Rupaka
Krithi
Bhargam pasupatim
Jingla
Misra Chapu
Krithi
Bhavapasa mochakam
Pushpalatika
Jhampa
Krithi
Bhujanga Bhushana
Chenchukamboji
Adi
Krithi
Bhutha pataye namo
Nagasvaravali
Adi
Krithi
Bhuvaneswari alita
Mohanakalyani
Adi
Krithi
Bindupeetha kritavase
Huseni
Misra Chapu
Krithi
Chakra ragarathe
Dharmavathi
Rupaka
Krithi
Chakresi pradeepa sri
Chakrapradeepta
Adi
Krithi
Chandamundasiraschethry
Garudadhwani
Rupaka
Krithi
Chandrashekara vibushite
Sankarabharanam
Adi
Krithi
Charuvikrama
Hamsadhwani
Adi
Krithi
Chidanikunda sambhute
Ataana
Adi
Krithi
Dakshatvaraharam
Surutti
Adi
Krithi
Dandina Sri Chandikambe
Salaga Bhairavi
Adi
Krithi
Devam kavachinam
Bangala
Adi
Krithi
Devi damshrakarala
Hamirkalyani
Adi
Krithi
Devi Gaurininna
Gaurimanohari
Khanda Chapu
Krithi
Devi Sivadutipradae
Punnagavarali
Rupaka
Krithi
Devi Sri Mahalakshmi
Harinarayani
Adi
Krithi
Devidakshayani
Balahamsa
Rupaka
Krithi
Dhirasikhamani
Ritigaula
Adi
Krithi
Dinamani umasaga
Mayamalavagaula
Rupaka
Krithi
Ennalu tirugu
Mandari
Adi
Krithi
Gamanatham bhaje
Panchamam
Misra Chapu
Krithi
Gamganapathe namo nama
Hamsadhwani
Rupaka
Krithi
Ganesha skanda janani
Nagabhushani
Rupaka
Krithi
Garudavahana
Garudadhwani
Rupaka
Krithi
Giridhanvinam
Kokiladhvani
Adi
Krithi
Girija deviya bhajisetho
Veenadhari
Adi
Krithi
Giripriyam gangadharam
Kathanakuthuhalam
Adi
Krithi
Girisam mahesham
Kaanada
Misra Chapu
Krithi
Gopalanandana
Kathanakuthuhalam
Adi
Krithi
Gurunatha
Pushpalatika
Khanda Chapu
Krithi
Hara Maheswara
Begada
Adi
Krithi
Harihara Mahadeva
Jaymanohari
Rupaka
Krithi
Himagiri tanaye
Udayaravichandrika
Adi
Krithi
Himagirisa manomani
Isamanohari
Adi
Krithi
Ikhane tala
Guharanjini
Adi
Krithi
Ithi vela nanne
Kokilabhashini
Rupaka
Krithi
Jagadguru
Gopikavasantham
Adi
Krithi
Jalandharasupeethasthe
Valaji
Rupaka
Krithi
Jannani Ashrita
Ratnangi
Rupaka
Krithi
Japakusuma
Dhanyasi
Adi
Krithi
Jaya jaya basha
Sudha Seemanthini
Adi
Krithi
Jaya Mahishasura
Hamsadhwani
Rupaka
Krithi
Jaya Narayana
Abhogi
Adi
Krithi
Jayadevijaganmathe
Garuda Malhar
Triputa
Krithi
Jvaalajjihve
Darbar
Adi
Krithi
Kadambavanavasini
Bhoopalam
Triputa
Krithi
Kala ratri svaroopini
Urmika/Sudha
Adi
Krithi
Kalati thaya
Udayaravichandrika
Adi
Krithi
Kameswari Sri
Kurinji
Jhampa
Krithi
Kandara mandala madhyaye
Purnachandrika
Adi
Krithi
Kannan manivarnam
Kharaharapriya
Rupaka
Krithi
Kapalinam vande
Hindustani Kapi
Misra Chapu
Krithi
Karangulina Khotparana
Harikamboji
Ata
Krithi
Kartyayani skandajanani
Devamanohari
Adi
Krithi
Kausamba vasanopathe
Karnataka Kapi
Chapu
Krithi
Khanda Paradsive
Yadukulakambhoji
Adi
Krithi
Kripanidhe
Hamsanandam
Misra Chapu
Krithi
Kripasagara
Madhavamanohari
Adi
Krithi
Lalataksha namosthuthe
Natta
Adi
Krithi
Lambodara sodara
Mecha Kalyani
Eka
Krithi
Lambodhara Mahaganesa
Navarasa Kannada
Misra Chapu
Krithi
Madhu kaitabha
Arabhi
Rupaka
Krithi
Madjurapura nayike
Chakravakam
Adi
Krithi
Mahabala girisam
Saranga
Chapu
Krithi
Mahabaladri nilaye
Ramapriya
Adi
Krithi
Mahabaleswara vibho
Saranga
Rupaka
Krithi
Mahadevam
Narayani
Adi
Krithi
Mahaganapathe dehi
Malahari
Rupaka
Krithi
Maharajani mahalakshmi
Amritavarshini
Triputa
Krithi
Mahatripura Sundar
Purnachandrika
Rupaka
Krithi
Mahavishnusodari
Anandabhairavi
Adi
Krithi
Mahishasura
Andolika
Adi
Varna
Manadira kisainda
Sankarabharanam
Adi
Krithi
Manamadanguvade
HanumaThodi
Adi
Krithi
Manamu kavalannu
Sahana
Rupaka
Krithi
Manas sastvasraye
Shanmukhapriya
Adi
Krithi
Manasija janaka
Panchamam
Adi
Krithi
Manasukaragi
Megharanjini
Adi
Krithi
Mangalam pongidum
Maand
Adi
Krithi
Mangalaroopiniye
Jonpuri
Adi
Krithi
Manonmani
Subhapanthuvarali
Adi
Krithi
Mantrini matangatanaye
Hemavathi
Adi
Krithi
Marakathamanichaye
Saindhavi
Rupaka
Krithi
Mavoor valar maharani
Jonpuri
Adi
Krithi
Mavur valamperuga
Sindhubhairavi
Adi
Krithi
Meenalochani Amba
HanumaThodi
Rupaka
Krithi
Moovasaikonde
Kharaharapriya
Adi
Krithi
Mrigapane
Bhairavi
Rupaka
Krithi
Mrithuynjayam mridam
Ramapriya
Khanda Chapu
Krithi
Mula prakrithi rupe
Saveri
Adi
Krithi
Muruganukku oeru
Mecha Kalyani
Adi
Krithi
Na punyamu gada
Keeravani
Adi
Krithi
Namo hirayana
Mangalakaisiki
Adi
Krithi
Nava lavanya rupadhaye
Hindolam
Rupaka
Krithi
Navakshara manusutha
Navarathnavilasam
Adi
Krithi
Navaratrotsava
Alankari
Rupaka
Krithi
Navavarana sampoojaye
Guharanjini
Adi
Krithi
Nee padamulanu
Natabhairavi
Adi
Krithi
Needu mahima
Hamsanandi
Adi
Krithi
Ni bhaianana
Kambhoji
Adi
Krithi
Ni padame gathiyanu
Bhairavi
Adi
Krithi
Nilalohita
Malavi
Adi
Krithi
Nilayatakshi nive
Vijayasree
Rupaka
Krithi
Ninnu nammi nanu
Abhogi
Eka
Krithi
Nityakinne nishkalanke
Nattakurinji
Adi
Krithi
Pachiyana turumeni
HanumaThodi
Adi
Krithi
Panchasyayane
Kaanada
Khanda Chapu
Krithi
Panchavakthramasraye
Hamsadeepakam
Adi
Krithi
Pankajanabam
Mecha Kalyani
Adi
Krithi
Parama mangalate
Dvijayanti
Chapu
Krithi
Paramapavanane
Megharanjini
Rupaka
Krithi
Paramapurusha
Paadi
Adi
Krithi
Parasu hasthaya
Navarasa Kannada
Rupaka
Krithi
Paripurna paratpara
Kuntalavarali
Adi
Krithi
Pasupathe namosthuthe
Saindhavi
Adi
Krithi
Pasupathi padasevaname
Mecha Kalyani
Adi
Krithi
Pasupathimugram
Arabhi
Khanda Chapu
Krithi
Pasupatipriya sati
Pasupatipriya
Rupaka
Krithi
Pinakine maha prabhave
Brindavanasaranga
d
Krithi
Purandara vinuthe
Purvikalyani
Triputa
Krithi
Purarthaye namo
Hindolam
Adi
Krithi
Purusham pushadante
Devamanohari
Adi
Krithi
Rajarajeswari
Garudadhwani
Adi
Krithi
Rathnabhushani
Yadukulakambhoji
Adi
Krithi
Ratnakanjukadarini
Kambhoji
Misra Chapu
Krithi
Rohineeyam
Surutti
Khanda Chapu
Krithi
Rundamala lasat
Bhushavali
Adi
Krithi
Sachamara Ramavani
Hamsanandi
Rupaka
Krithi
Sachidananda vigrahe
Devagandhari
Chapu
Padam
Sahajaguna Rama
Sankarabharanam
Adi
Krithi
Sahasra sirsha
Sudha Lalitha
Jhampa
Krithi
Sahasrakara manadithe
Vachaspathi
Adi
Krithi
Sahasraksham sambhavam
Nayaki
Rupaka
Krithi
Sahasrapadam
Kedaram
Misra Chapu
Krithi
Sainapriya Sivasankara
Sama
Adi
Krithi
Sakala sampatprade
Ritigaula
Jhampa
Krithi
Saketha Bhupathe
Mukhari
Adi
Krithi
Sakthi Vinayaka
Sriranjini
Adi
Krithi
Samayamide nannu
Budhamanohari
Adi
Krithi
Sampathprade
Mecha Kalyani
Adi
Krithi
Sankara gangadhara
Sudha Saveri
Adi
Krithi
Sankarisathodari
Gaula
Adi
Krithi
Sannutangi
Vasantha
Adi
Varna
Sarasakshi ni
Mecha Kalyani
Ata
Krithi
Sarasamukhi
Garuda Malhar
Adi
Krithi
Saraswatidevi
Saraswati Manohari
Rupaka
Krithi
Saravanabhava
Pasupatipriya
Adi
Krithi
Sarva mangala rupadhye
Paras
Misra Chapu
Krithi
Sarvajna Samba
Ravichandrika
Rupaka
Krithi
Sarvjagatvyapanam
Manorama
Adi
Krithi
Sasisekhara
Purnachandrika
Adi
Krithi
Sathvikam sankaram
Amritavarshini
Khanda Chapu
Krithi
Satideviye
Shanmukhapriya
Adi
Krithi
Sharanam vijaya
Vijayasaraswati
Adi
Krithi
Siddhi Vinayakom
Mohanakalyani
Adi
Krithi
Sikhivahana
Hamsadeepakam
Adi
Krithi
Simhavahana Amba
Simhavahini
Rupaka
Krithi
Siva mahasena janaka
Vasantha
Khanda Chapu
Krithi
Siva siva sambho
Mecha Kalyani
Adi
Krithi
Sivam vrishbharudram
Mohanakalyani
Khanda Chapu
Krithi
Sivapriya
Sriranjini
Rupaka
Krithi
Sivaramaya sugunalaya
Keeravani
Rupaka
Krithi
Somasundara
Sarasangi
Adi
Krithi
Somasuryagni
Hamsanandi
Misra Chapu
Krithi
Sri Anjaneya
Jaymanohari
Adi
Krithi
Sri bhargavam
Sri
Adi
Krithi
Sri bhavamchinmayam
Garudadhwani
Misra Chapu
Krithi
Sri karijaya
Sri
Adi
Krithi
Sri mahabala saila
Sudha Saveri
Adi
Varnam
Sri Mahaganapathe
Kambhoji
Ata
Varnam
Sri Mahishasuramardini
Hamsagamani
Rupaka
Krithi
Sri Parameswara
Madhyamavathi
Adi
Krithi
Sri Raghuvara chinmaya
Nayaki
Adi
Krithi
Sri Raja Raja varade
Saurashtram
Rupaka
Krithi
Sri rajamatangi
Udayaravichandrika
Adi
Varna
Sri Rama kodandarama
Bhairavi
Misra Chapu
Krithi
Sri Sailabrahmambika
Kamalamanohari
Rupaka
Krithi
Sri Sambasiva sadguru
Gurupriya
Khanda Chapu
Krithi
Sri Sambasivaiya
Suryakantham
Rupaka
Krithi
Sri Shuba Devi
Jaganmohini
Rupaka
Krithi
Sri Sive jaya vaibhave
Abhogi
Adi
Krithi
Sri trilokesam
Saveri
Khanda Chapu
Krithi
Sri Virabhadram
Kannada
Adi
Krithi
Sri Virupaksha
Gauri
Khanda Chapu
Krithi
Sri Vishweswara
Harikamboji
Adi
Krithi
Srichakrapuravasini
Gamanasrama
Adi
Krithi
Srichakravara
Janaranjani
Adi
Krithi
Srikanda dayanide
Malavi
Rupaka
Krithi
Srikantha dayanidhe
Salaga Bhairavi
Rupaka
Krithi
Srimad Simhasaneswari
Sudha Saveri
Adi
Krithi
Srimad Tripurasundari
Madhyamavathi
Adi
Krithi
Srirama jayabhauma
Madhyamavathi
Adi
Krithi
Srisa raravanabhavuni
Sumanpriya
Adi
Krithi
Sritrayimurte
Jayanarayani
Rupaka
Krithi
Sudhamayi sudhanidhi
Amritavarshini
Rupaka
Krithi
Sukshmathanum
Hindola Vasantha
Khanda Chapu
Krithi
Suryacharagni
Sriranjini
Rupaka
Krithi
Tappa mannisotaye
Mayapradeepa
Adi
Krithi
Tappulanaiyu
Bauli
Rupaka
Krithi
Taraka nama
Mayamalavagaula
Adi
Krithi
Teliyakane
Huseni
Rupaka
Krithi
Thaiyidhathil anbiiatha
Jonpuri
Eka
Krithi
Tharakamsivan
Sriranjini
Adi
Krithi
Thim Thathim
Hamsanandi
Adi
Tillana
Thodu nida nive
Punnagavarali
Adi
Krithi
Thom tha thom
Kaanada
Adi
Thillana
Thyagaraja sadguruvai
Hindolam
Adi
Krithi
Tripuranthaka deva
Hindusthani Behag
Adi
Krithi
Umadeva mahanubhava
Mohana
Adi
Krithi
Urraya Avyak taya
Dharmavathi
Rupaka
Krithi
Vageeswari
Saraswati
Adi
Krithi
Vajresi mathe
Andolika
Adi
Krithi
Valli nayaka
Shanmukhapriya
Adi
Krithi
Vanchadomune
Karnaranjini
Triputa
Krithi
Vani nityakalyani
Saraswati Manohari
Adi
Krithi
Vaninivasini
Kedaram
Rupaka
Krithi
Vedamathe vedavinuthe
Natta
Adi
Krithi
Vijayambika
Vijayanagari
Adi
Krithi
Vindhyachala nivasini
Narayanagaula
Triputa
Krithi
Vyomakesam namami
Andolika
Triputa
Krithi
Yagnamayum Sankaran
Bhavapriya
Rupaka
Krithi
Yogini Ganasevitha
Vanaspathi
Adi
Krithi

Koteeswara Iyer (1870 - 1940) Biography and Works


Biography

Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi Raaga-s.


Koteeswara Iyer was born into a music famly. His grand father was the famous poet and composer Kavikunjara Bharati, a contemporary of the trinity. Koteeswara Iyer was initially trained by his grand father. Later he was trained by Ramnad Sreenivasa Iyengar and then by Patnam Subramania Iyer. Koteeswara Iyer's mudra, Kavi Kunjaradasan, shows his respect for his grand father, Kavikunjara Bharati.

Koteeswara Iyer penned over
200 compositions. He also composed a krithi in each of the 72 mela-s and published them in his book Kandha Gaanamritham. But he is well known for his Vivaadi raaga krith-s like Mohanakara (Neethimathi), Ma madhura sarasa (Ganamurthi) and Singara Kumari (Varunapriya). Famous vocalist S. Rajam is one of the artists who has sung a lot of Koteeswara Iyer krithi-s and popularized them

Teachers & Influences: Patnam Subramanya Iyer, Ramnad Sreenivasa Iyengar


Mudra: Kavi Kunjaradasan

Genre Carnatic: Krithi

Languages used: Tamil, Telugu


Compositions:
Adum azhaginile Kosalam Adi Krithi
Alagade Hatakambari Adi Krithi
Amboruha padame Natabhairavi Rupaka Krithi
Ananda rakshaka Jhalavarali Adi Krithi
Andharanga bhakthi Shadvidhamargini Adi Krithi
Anjaade Pavani Misra Chapu Krithi
Appa Muruga Divyamani Adi Krithi
Appane kapali HanumaThodi Rupaka Krithi
Arul shaiya Rasikapriya Adi Krithi
Ayyane atkol Kambhoji Triputa Krithi
Dasanena Gukasena Vanaspathi Adi Krithi
En maname Namanarayani Adi Krithi
Enai alayya Sankarabharanam Adi Krithi
Ganamudham Salagam Adi Krithi
Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi
Ghananayadesika Rishabhapriya Adi Krithi
Gitamudame Madhyamavathi Adi Krithi
Iha para sukha Suvarnangi Rupaka Krithi
Vachaspathi Rupaka Krithi
Isan Kanakasabhesan Begada Adi Krithi
Ka guha Shanmukha Kosalam Rupaka Krithi
Kaana kankodi vendum Chakravakam Rupaka Krithi
Kada bhakthachintamani Dharmavathi Misra Chapu Krithi
Kaikuda Latangi Jhampa Krithi
maname Ragavardhini Rupaka Krithi
Kali teera vandarul HanumaThodi Misra Chapu Krithi
Kanaka Mayura Jalarnavam Adi Krithi
Kanakangaka Kanakangi Adi Krithi
Kanakavela karunalavela Sri Adi Krithi
Kandaga karpaga taruve Syamalangi Misra Chapu Krithi
Kanjam konjam Suryakantham Rupaka Krithi
Kanparaiyya Kharaharapriya Rupaka Krithi
Karunai Kadale Dhenuka Adi Krithi
Karvaya kanda Dhavalambari Rupaka Krithi
Ma madhura sarasa Ganamurthi Adi Krithi
Mahaganapathe Kaanada Adi Krithi
Malaiyate maname Sarasangi Rupaka Krithi
Manade maravade Hemavathi Rupaka Krithi
Mane moham Saveri Adi Varnam
Mangalam mayitvaham Surutti Adi Krithi
Manojanaimaruganai Gaula Adi Krithi
Mohanakara Neethimathi Rupaka Krithi
Nada nilai Gayakapriya Jhampa Krithi
Nadanuasantanaa Vagadheeswari Adi Krithi
Nadasukham Kanthamani Adi Krithi
Nalagude Rupavathi Adi Krithi
Nambinen Aiyya Vakulabharanam Adi Krithi
Nan enna seyven Mayamalavagaula Adi Krithi
Nayen unaye Naganandini Adi Krithi
Neeye gati en thaye Harikamboji Adi Krithi
Ni than appa Charukesi Adi Krithi
Nijabhaktim Manavathi Rupaka Krithi
Ninnaikanome Gangeyabhushani Rupaka Krithi
Paramananda Vishwambhari Rupaka Krithi
Sulini Adi Krithi Parayunul Gaurimanohari Adi Krithi
Rama ravikulasoma Bhairavi Adi Krithi
Ranjitha kavi Sudha Saveri Rupaka Krithi
Sadanamndame Mecha Kalyani Adi Krithi
Sadananda Raghupriya Rupaka Krithi
Samaganalola Chitrambari Misra Chapu Krithi
Sambhosankara Mecha Kalyani Triputa Krithi
Sami Dikshita Devamanohari Rupaka Krithi
Sami ide nallsamayam Navaneetham Rupaka Krithi
Sami sadamuda Ramapriya Adi Krithi
Samidesamayam Kedaragaula Rupaka Krithi
Sanbho sadasiva Yagapriya Adi Krithi
Shentiruvelan Bhavapriya Adi Krithi
Singara Kumari Varunapriya Adi Krithi
Sri Venugopaladeva Darbar Jhampa Krithi
Sukha Vazhve Kokilapriya Rupaka Krithi
Sukhakara Dhatuvardhini Adi Krithi
Sukhame sukham Shanmukhapriya Adi Krithi
Tandi mamukha Natta Adi Krithi
Thandarul ayya Nasikabhushani Misra Chapu Krithi
Tharuve nin arul Varali Misra Chapu Krithi
Ullam ariyada Sriranjini Adi Krithi
Unnaiyillal Simhendramadhyamam Adi Krithi
Va velava va Tanarupi Jhampa Krithi
Vaaranamukha va tunai Hamsadhwani Rupaka Krithi
Varnam tarum Jhankaradhwani Misra Chapu Krithi
Velaiya dayi Saveri Adi Krithi
Velanai vere gathi Subhapanthuvarali Misra Chapu Krithi
Velava va adiyen Arabhi Rupaka Krithi
Velave va Keeravani Jhampa Krithi
Velu mayilu me Sucharitra Rupaka Krithi
Viraraghava Gavambodhi Adi Krithi
Yedum ariyene Sahana Jhampa Krithi

Wednesday, August 15, 2007

Subramania Bharathi (1882-1921) Biography And Works

Biography
Subramania Bharathi was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in 1882 at Ettayapuram. He lost his mother at the age of 5. He learnt music from very young age and at 11 and was invited to a conference of Ettayapuram court poets and musicians for composing poems and songs. He accepted a challenge and composed a chindu on the model of kaavadi chindu of Annaamalai Reddiyaar. There he was given the title 'Bhaarati' for his ability to compose poems and songs.

At the age of 15 he married Cellammaal and in 1898 lost his father. At 22, he became Tamil teacher at Setupati High School in Madurai and the same year was appointed Assistant Editor of a daily newspaper called "Swadesamitran." In 1906, he was editor of a weekly magazine called "India" in Madras and the next year a friend of his, Krishnaswaamy Aiyyar received from him songs he had composed on patriotism and published them, titled "SudEsa geetangaL." In 1908 the government wanted to arrest him, but he escaped to PonDicerry (under French rule) and published "India" from there.

In 1912 he translated the Bhagavad Geeta into Tamil and composed songs on Krishna (KaNNan PaaTTu), "Kuyil," and "Pancaali Shabadam" (on Draupadi of the Mahaabhaarata).

His national integration songs earned him the title "DEsiya Kavi" (National Poet).His patriotic songs emphasize nationalism, unity of India, equality of man and the greatness of the Tamil language. He sang these himself at Congress meetings at the Madras beach. He composed tamil keertanais on love, devotion,fearlessness, mysticism.

His stepbrother C.Vishwanaata Aiyyar and V.V.S. Aiyyar tell us that he himself set his songs to music and could sing them well in a variety of raagams. In "Bharata dEviyin tiru dasangam" he used 10 raagams.

In an article "Sangeeta Vishayam" (Issues in Music), Bhaaratiyaar rebukes musicians PaTnam Subramania Aiyyar and others for singing songs of the Trinity, without knowing the meaning because the songs are all in Sanskrit or Telegu. According to him, without knowing the meaning, singers are unable to sing with proper expression. He also saysthat songs usually portray devotion and love and not other emotions like courage, anger, wonder,fear, and hatred. He emphasized that musicians should not sing songs which they don't understand and should learn from Hindustani musicians how to train their voices.

He died in an accident on September 11, 1921 at the age of just 39.

Compositions:

Appavum ponnadi Jaymanohari Adi Krithi

Bharatha samudayam Hindusthani Behag Eka Padam

Chinna chiru kiliye Bhairavi Rupaka Krithi

Dikkuteriyada HanumaThodi Adi Krithi

Endaiyam tham Kambhoji Adi Krithi

Jayamundu bhayamillai Khamas Adi Krithi

Jiva padagai Anandabhairavi Adi Krithi

Jnanappal arulvai Saramati Adi Krithi

Kaathirukunren Sama Adi Krithi

Kanavendamo Sri Rupaka Krithi

Kanene en kanavan Mecha Kalyani Adi Krithi

Kanika kondutaram Varali Eka Krithi

Karumbu thottathile Saindhavi Misra Chapu Krithi

Malai pozhidil Nadanamakriya Adi Krithi

Mannar kulathinadi Nadanamakriya Adi Krithi

Muruga Muruga Nattakurinji Adi Krithi

Nenjukku neethi Sindhubhairavi Adi Krithi

Neram mikandidu Nadanamakriya Adi Krithi

Nithyamunai vendi Chakravakam Eka Krithi

Pillai prayathile Saraswati Manohari Eka Krithi

Sakthi tanake Bhoopalam Eka Krithi

Thanjamulakinil Punnagavarali Adi Krithi

Ujjaiyini Hindolam Adi Krithi

Umayirundavar Kambhoji Adi Krithi

Unnai yenamayil Kharaharapriya Adi Krithi

Vandadum cholai Harikamboji Adi Krithi

Veene Sheshanna (1852-1926) Biography

Biography


Veene sheshanna is perhaps the most famous musician of the Mysore royal court and proponent of the famous Mysore Bani i.e. school of veena playing. He also represents the times when Mysore royal court was the cultural capital of the south.


Born into a family of musicians, he learnt from his father Bakshi Chikka Ramappa who was the court musican in the court of the Mysore king of the time Mummadi Krishnaraja Wodeyar. He was a child prodigy and gained acceptance of the court even at the age of just ten. Later he learnt vocal music under the famous vocalist
Mysore Sadashiva Rao.
Apart from Veena, he was adept at playing many instruments like piono, sitar and violin. He also learnt Hindustani music and even western classical. He was also a composer.




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