Muthuswamy Dikshitar

[Pratyaksham Bala]

Constitution of India - Part XVII Chapter I
343. (1) The official language of the Union shall be Hindi in Devanagari script.

Hindi version:-
343. (1) संघ की राजभाषा हिन्दी और लिपि देवनागरी होगी।

[rshankar]

rAjbhAshA = nation's language/national language

[Ranganayaki]

Ranganayaki ( and others ),

You have very successfully not understood the essence of the message and your retort only suggests that you may also belong to the same tribe as that of Macaulay.

...
Your pessimistic singular feelings and opinions don't matter when all the above has been accepted by a vast majority of leaders and linguists including Hindi pundits. You must also know that Samskrit was preserved in south India by Tamilians mostly and the early kannadigas especially using the Grantham script.

You are also equally awfully wrong that I want that the kriti should go extinct. It is very much alive in safe hands of Shri Vidya practitioners and will never die. It is like Kohinoor diamond. If everyone possesses it, there is no value for it. It should not fall into the hands of people like you especially who want to dilute or denigrate its importance. The kriti is not begging everyone to learn it and kill it.

Classicallover,
I really would hate to start an angry exchange. I DID understand you correctly. I do value sanskrit. In fact, I happen to be making efforts to learn the language from a relative of mine who lives in Bangalore and we have had classes where she tries to teach me the language. The classes have been interrupted now for a few months, but my appreciation of her interest and commitment remain and I have worked on her assignments diligently.

I certainly understand correcly that you value Sanskrit and this kriti that you are discussing and that you DON'T want to kill it off. I happen to be interested in language learning, and teaching, and have a light interest in linguistics. I was just explaining to you what may naturally happen when an aspect of our culture or any culture is suppressed and not practiced. It dies.

What I said to you about many people learning the kriti badly increasing the chances of one person coming along who will sing it well is the truth. If we had elevated CM itself to that level, then even CM would go the way of sanskrit - alive in the hands of a few, used in select cirucumstances, but not practiced as a living language by a wide society. The fact that we have awful singers, poor students who sing badly is in general a good thing - because out of that group come a whole lot of rasikas, and out of that come better singers, and great performing artists.

I was not retorting, but I just could not accept your thought. The idea of not learning something beautiful because of the fear factor really went so much against my grain that I spoke. I don't like to start enraged controversies, so please accept my words and let's discuss it without anger. You certainly have my respect and regard for your offer to teach others, I have benefited from such an offer myself.

[Pratyaksham Bala]

rAj = Government
rASTra = Nation

rAjbhASA = Government/official language
rASTrabhASA = National language

[vainika]

Some may be interested in this article on MD and Sri Vidya
http://ssubbanna.sulekha.com/blog/post/ ... 5-0f-7.htm

I've heard the kRti rendered twice, the first by a SriVidya initiate. The second of these took me by surprise: this was a family settled for three generations in the US. The patriarch had emigrated from India in the early 60s. I had been invited to their home for a Devi puja, and was completely taken aback to find a group of 6-7 people singing the mantra kriti in unison on a cold December morning.

Kallidaikuruchi Sundaram Iyer has provided the notation in his Dikshita Kirtana Mala. There is no recording available in the public domain, as far as I know.

An online review of a Bharatanatyam arangetram (2008) in Atlanta mentions a mangalam in Madhyamavati on Sri RajaRajeshwari - don't know if it's the same kriti we're discussing - http://www.atlantadunia.com/dunia/Features/F109.htm

[Pratyaksham Bala]

Some may be interested in this article on MD and Sri Vidya
http://ssubbanna.sulekha.com/blog/post/ ... 5-0f-7.htm

In the article, there is a profound statement:-
"A Sri Vidya Upasaka worships beauty and grace; rejecting ugliness in thought, word and deed."

[rajeshnat]

Looks like it was a nice lecdem of Smt Charumathi Ramachandran
http://www.thehindu.com/arts/music/article2777384.ece
There is a reference to asaveri krithi "sri kanchi nAyike", I think she sang that annaswami sAstri as a short detour , though this programme was on MD.

[gobilalitha]

Charumati Ramachandran in her lec-dem showed how each gem of the composer is associated with a place.

Charumathi Ramachandran’s Lec-dem on “Kasi to Rameswaram with Dikshitar - A Musical Journey” was an interesting voyage with her for the audience too. She began by touching upon the highlights of his life.

Muthuswamy Dikshitar was trained in Sanskrit, Telugu, music, veena, grammar, etc. by his father Ramaswamy Dikshitar who has composed songs on Kamalamba and Thyagaraja of Tiruvarur and his mudra was Venkatakrishna. He discovered the raga Hamsadwani.

Muthuswamy Dikshitar learnt jyotisha mantras and theory of music, etc., while staying with Manali Chinnayya Mudaliyar and he put them to use in his compositions. He went to Kasi with Chidambaranata Yogi, who taught him the secrets of nada, tantra and musical aspects of Carnatic and Hindustani, and also meditation. His stay there helped him to imbibe the Hindustani ragas and the drupad style which he incorporated in his compositions later.

Prayer and meditation on the banks of the Ganges, as ordained by his guru, brought him a divine veena with the inscription Sri Rama. He composed, after divine intervention, ‘Sri Nadadi’ in Mayamalavagowla,(which Charumati demonstrated) with his mudra “Guruguha,” and raga mudra, when he went to Tiruttani, again on the advice of his guru.

Charumathi sang Dikshitar’s compositions on Kasi Viswanathar and Annapoorani, ‘Visalakshim’ in Pantuvarali, and mentioned ‘Ehi Annapurne’ in Punnagavarali. In ‘Sri Viswanatham,’ the chaturdasa (14) Ragamalika composed by him he has incorporated raga mudra in each stanza. For instance, ‘SRI Viswanatham (Sriragam) Sritajana SamsARABHItya, GuruguhasamMOHANAkara, Sadasivam SAMAganavinutam, Satgatidaya KAMBHOJA charanam, etc. Charumathi sang some of these lines and gave the meaning also.

The next place was Ayodhya (mentioned as Saketapura or Nagara by both Tyagaraja and Dikshitar) and the kriti she took up for demonstration was ‘Ramachandram Bhavayami’ in Vasantha, where in the line, SAKETA NAGARE Ni VASANTHAm, both Ragamudra and Sthala mudra are incorporated.

It was in Kanchi that Dikshitar met Tygaraja’s Guru! Charumathi rendered ‘Sri Kanchi Nayike’ in Asaveri, ‘Ekamranatham’ in Purvikalyani, and ‘Varadarajam’ in Saranga. In the last mentioned kriti, Dikshitar dwells on the Garudasevai in that temple. Dikshitar juxtaposes the legends as well as description and beauty of the deities in these compositions. The Prithvi lingam of Kanchi is included in Dikshitar’s Panchabhuta linga sthala kritis. (Chintayama-Bhairavi).

Charumathi sang ‘Sri Parthasarathi’ in Suddha Dhanyasi with the observation that it could be on the presiding deity of the Triplicane temple. Sholingur (Narasimhagaccha) and Tirupati (Sri Venkata Girisam Alokaye, Suratti) were also included in his repertoire. A beautiful rendition of ‘Chandrasekaram’ on Siva in Marga Hindoam with raga mudra and ‘Akshaya Linga Vibho’ on the Kivalur deity were chosen for Siva. She sang niraval and swaram just to emphasise how well Dikshitar has incorporated these aesthetic elements in his songs.

Muthuswamy Dikshitar’s kritis were popularised by his brothers Chinnaswamy and Baluswamy and also by numerous disciples. Guru of the Thanjavur Quartet, Dikshitar also supervised the nagaswaram, dance and Sadir performances at the Tiruvarur temple.

Charumathi went on to explain the meaning of ‘Anandanatana Prakasam’ in Kedaram (also sang) on the cosmic dance of Siva (Akasa lingam of Chidambaram), ‘Brihadeeswaram’ in Lalita Panchamam (Thanjavur), the Gundakriya kriti (Gangai Konda Chozhapuram), ‘Rudrakopa’ in an appropriate raga Rudrapriya on Veerabhadreswarar of Velliangiri in which the deity’s consort, Bhadrakali is also mentioned.

She sang Dikshitar’s Dharmasamvardhani in Madhyamavathi with ragamudra in caranam (Thiruvaiyaru). He lived in Tiruvarur and composed a number of songs on Thyagarajaswamy as well as the Kamalamba and Abhayamba Navavaranams and a number of kritis on Nilotpalamba, and also the 16 shodasa Ganapathy kritis, etc. She demonstrated parts of some kritis and also explained the mention of different chakras in Navavaranams and how singing them is equal to the traditional Navavarana puja. The Navagraha kritis he composed on the nine planets are equivalent to Navagraha Puja. He has mentioned about the characteristics of the planets, vahanam, naivedyam and other things in these kritis.

Charumathi concluded Dikshitar’s musical pilgrimage at Rameswaram by singing ‘Sri Ramam’ in ‘Narayanagowla’ which gives a full description of Rama, and ‘Ramanatham Bhajeham’ in Kamavardani where he speaks of “Koti Tirta Prabhavam.” She summed up with the comment that with an encyclopaedic vision, Dikshitar included in all these compositions, sthalapurana, name of the deities, temple utsavam, practices, legends, vahanam, and also mantras, sastras, Vedas, etc. all in Sanskrit. The vocalist expressed regret that due to paucity of time she could not do justice to the subject.

Charumathi was accompanied by Ravi Srinivasan from the U.S. on the violin, Mudikondan Ramesh on the veena, and Aswin Sridhar on the mridangam. The lec-dem left one wondering why she did not present a concert this season.

Other destinations in Dikshitar’s pilgrimage:

Kumbakonam – ‘Kumbeswaraya Namaha’

Madurai – ‘Meenakshi Memudam’

Tirunelveli – ‘Sri Kantimatim’ and ‘Sri Lakshmi Varaham’

Tiruchendur – ‘Sri Subrahmanyo’ (mentions the practice of vibuti being given in leaf)

Nagapattinam – ‘Sri Soundararajam’

Ranganayakam – ‘Srirangam’ (with raga mudra RangaNAYAKIsameda)

Keywords: Margazhi music season 2011, carnatic music,

[satyabalu]

* Very scholarly &informative lecture.
* Ekambra natham ,I felt could be complete if a few samples of neraval "Omkara natham sivam" were elaborated &Sri viswanatham Charurdasa ragamalika to have been completely rendered -both are MLV forte (Charumathi had invariably accompanied MLV rendering these nos.)Charumathi agreed she could not cover for want of time.

[Sreeni Rajarao]

Today being Krishna Janmashtami, I would like to present an instrumental version (Veena) of Dikshitar's bAlagOpAla, performed by San Diego based Veena Kinhal (from a 1994 recording)

http://www.youtube.com/watch?v=7MUXKbgGZHY

You can also download this here:
http://archive.org/details/BAlagOpAla

[venkatakailasam]

To day is Muthuswamy Dikshadar's Mukthi Day...

Here is a Theme concert of his compositions by Smt. DK Pattammal..1.25 hours...

https://www.youtube.com/watch?v=pz51IM1CkvA

[cmlover]

Many many thanks for this Gem!
I guess the year is 1975 ?
Does the picture relate to this event?
In what way today is MD's mukti day?
(he died in 1835...)

[venkatakailasam]

21 oct 1835

[satyabalu]

http://sriramv.wordpress.com/2013/12/27 ... ts_order=0

[satyabalu]

முத்துசுவாமி தீட்சிதர் செய்த அற்புதங்கள்


முத்துசுவாமி தீட்சிதர் செய்த அற்புதங்கள்

ஆதாரம்: ஷண்மதமும் முத்துசுவாமி தீக்ஷிதரும், எழுதியவர்: என். பார்த்தசாரதி, ஆண்டு 2002.

சென்னை மேற்கு மாம்பலம் பார்த்தசாரதி அவர்கள் எழுதிய 24 பக்க புத்தகத்தில் ஒரு கலைக்களஞ்சிய அளவுக்கு தகவல்கள் உள்ளன. சங்கீத ரசிகர்கள் அனைவரும் படிக்க வேண்டிய புத்தகம்.



அற்புதம் 1: காசியில் கங்கை நதியில் வீணை கிடைத்தது.



அற்புதம் 2: திருத்தணி முருகப்பெருமான் சன்னிதியில் அவன் அருளால் முதல் பாட்டைப் பாடி 440 கீர்த்தனைகளை இயற்றினார். (அவர் ஆழ்ந்த தியானத்தில் இருந்தபோது ஒரு வயதான ஆள் அவர் வாயில் கற்கண்டைப் போட்டதாகவும் உடனே பாடல்கள் பொங்கி எழுந்ததாகவும் கூறுவர்). முதல் பாட்டு ‘ஸ்ரீ நாதாதி குருகுஹோ’ என்று அமைந்தது. அது முதற்கொண்டு எல்லா பாடல்களிலும் ‘குருகுஹ’ என்ற முத்திரையை வைத்துப் பாடினார்.



அற்புதம் 3: எட்டயபுரத்தில் வறட்சி நிலவிய காலத்தில் அங்கு சென்றார். ‘வாடிய பயிரைக் கண்ட போதெல்லாம் வாடிய’ பெருமக்கள் வரிசையில், மரபில் வந்தவர் அவர். உடனே அமிர்தவர்ஷினி ராகத்தில் அம்பிகை மீது ‘ஆனந்தாமிர்தகர்ஷினி’ என்ற க்ருதியைப் பாடவே மழை ‘பெய்யெனப் பெய்தது’.



அற்புதம் 4: தமிழ், சம்ஸ்கிருத மொழிகளில் வேற்றுமைகள் (விபக்தி) எட்டு ஆகும். இவைகளை வைத்துப் பாடினால் விபக்தி கிருதிகள் என்பர். இவ்வகையில் 32 கீர்த்தனைகள் இயற்றினார். ஒரு குறிப்பிட்ட கீர்த்தனையில் அதே வேற்றுமையில் வரிகள் அமையும். அபயாம்பிகை, கமலாம்பிகை, நீலோத்பலாம்பிகை, மதுராம்பிகை பெயர்களில் (4 x 8=32) இப்படிப் பாடினார்.



அற்புதம் 5: சிவன் மீது பாடிய ‘ஸ்ரீ விஸ்வநாதம்’ என்ற கிருதி சிகரமாக அமைந்தது. 14 ராகங்களைக் கொண்டு சிவனின் பெருமைகளை விளக்குகிறார். ஒரே பாட்டில் 14 ராகம்!





இனி அரிய தகவல்கள்

அரிய தகவல் 1: இவர் ஒவ்வொரு பாடலிலும் ‘குருகுஹ’ என்ற முத்திரையோடு பாடலின் ராகத்தையும் இணைத்துக் கூறுகிறார்.



தகவல் 2: கர்நாடக சங்கீதத்தின் மும்மூர்த்திகளில் ஒருவரான இவர் செய்த ‘வாதாபி கணபதிம் பஜே’ என்ற ஹம்சத்வனி ராக பாடலைத் தான் முதலில் கற்பிப்பார்கள். இவர் மும்மூர்த்திகளில் ஏனைய இருவரான சியாமா சாஸ்திரிகள், தியாகராஜர் ஆகியோர் காலத்தவர். ஷியாமா சாஸ்திரிகளைச் சந்தித்தது உறுதி, ஒருவேளை தியாகராஜரையும் சந்தித்திருக்கலாம்.



தகவல் 3: இவர் வாழ்ந்தகாலம் 1775- 1835. பிறந்தது திருவாரூர், சமாதி அடைந்தது எட்டயபுரம். காசியில் சிதம்பரநாத யோகியுடன் வசித்தது 5 ஆண்டுகள். திருவாரூர், தஞ்சாவூர், காஞ்சீபுரம், எட்டயபுரத்திலும் பல ஆண்டுகள் வாழ்ந்தார்.



தகவல் 4: சங்கீதம், யோக சாஸ்திரம், மந்திரம், உபநிஷதம், சம்ஸ்கிருதம், தெலுங்கு முதலியவற்றில் கரை கண்டவர். சம்ஸ்கிருத சொற்களை அடுக்கு மொழியில் அள்ளித் தெளித்திருக்கிறார். அவைகளில் அழ்ந்த மந்திர தந்திரங்கள் நிறந்திருக்கின்றன.



தகவல் 5: பிள்ளையார் மீது சுமார் 24, சிவன் மீது 100, சக்தி மீது 150, முருகன் மேல் 30, ராமர், கிருஷ்ணர், விஷ்ணு மீது 60, நவக்கிரகங்கள் மீது 9 கிருதிகள் என்று ஷண்மத தத்துவங்களையும் பாடி இருக்கிறார்.



தகவல் 6: இவர் அம்பாள் மீது பாடிய பாடல்களை ஸ்ரீசக்ரம், மந்திர, யந்திர, தந்திரங்கள் அறிந்தவர்களே பூரணமாக விளங்கிக் கொள்ள முடியும். பரம ரகசியங்கள் நிறைந்தவை. அதே போல பலன்களும் கொடுக்க வல்லவை. இதில் மிகவும் முக்கியமானது நவாவரணக் கீர்த்தனைகள் 9 ஆகும். இதே போல நவக்கிரஹங்கள் பற்றிய 9 பாடல்களில் கிரஹ பீடைகள் விலக மந்திரபூர்வ பாடல்களைப் பாடியுள்ளார்.



தகவல் 7: இவர் பாடல்களில் வரும் புராண, இதிஹாச நிகழ்ச்சிகள் எண்ணற்றவை. அதிகமாகக் கேள்விப்படாத விஷயங்கள் சில: ஒரு பாடலில் குபேரனின் மகன்கள் நளகூபரனும் ,மணிக்ரீவனும் நாரதர் சாபத்தால் மருத மரங்களாகப் பிறந்து கிருஷ்ணனின் உரலால் சாப விமோசனம் பெற்றதைக் குறிப்பிடுகிறார். இன்னொரு பாடலில் தானம் கொடுத்த பசுவையே மீண்டும் தானம் கொடுத்த ந்ருக மகாராஜன் ஓணாயாகப் பிறந்து கண்ண பெருமானால் முக்தி அடைந்ததைப் பாடுகிறார்.



தகவல் 8: இது வேறு ஒரு ஆங்கிலப் புத்தகத்தில் இருந்து எடுக்கப்பட்ட தகவல்: தீட்சிதர் , காஞ்சிபுரத்தில் உபநிஷத் பிரம்மம் என்ற சாதுவுடன் 4 ஆண்டுக் காலம் வசித்தார். அவர் இயற்றிய ராம அஷ்டபதிக்கு இசை அமைத்தார்.



தகவல் 9: இவருடைய சீடர்களில் திருவாரூர் நடன மாது திருவாரூர் கமலமும் ஒருவர். அவர் கோவிலில் ஆடுவதற்காக 2 தெலுங்கு பாடல்களையும் இயற்றினார். அதைப் பார்க்க நாட்டியப் பேரறிஞர்களான தஞசாவுர் நால்வரான பொன்னையா, சின்னையா, வடிவேலு, சிவானந்தம் ஆகிய நால்வரும் வந்தனர்.



மேலும் விவரம் வேண்டுவோர், என்.பார்த்தசாரதியின் “ஷண்மதமும் முத்துசுவாமி தீக்ஷிதரும்” என்ற நூலையும் டி.எஸ்.பார்த்தசாரதி எழுதிய ‘Muthuswami Dikshitar’ ( in the book Great Composers ) என்ற ஆங்கிலக் கட்டுரையையும் படிக்கவும்.

[rshankar]

Can we please post an english translation of this?

[Ramasubramanian M.K]

A funny episode--PERSONAL!!!(CMLover/Arasi--you would enjoy this!!)

In my High School in Bombay I had a Math teacher who was also a very discerning CM lover. One day in one of his classes he asked me when I was born!! trying to be pompous in my response and a show-off of CM music lore,I said "Sir I was born on Diwali Day and proudly followed it up with a remark-- a day all HINDUS celebrate Worldwide and added Diwali is also associated with the death of "Muthuswamy Dikshithar".

Teacher's response in Tami: APPO DIWALI ANNIKKI ERANDU VARUNDHATHAKKA SAMBAVAM NADINDHIRUKKU ENRU SOLLU"(Translation--So you mean to say on Diwali Day two regrettable events occurred!!!!

UNFORTUNATELY THE SIMILARITY BETWEEN MYSELF AND DIKSHITHAR ENDS THERE!!!!

[vasanthakokilam]

funny MKR, quick sense of humor on the part of your math teacher and a good sport on your part.

[vasanthakokilam]

Let me provide the gist of what satyabalu has provided above in Tamil. That is taken from a 24 page Tamil book written by West Mambalam N. Parthasarathy in 2002 titled 'Shanmadamum Muthuswamy dIkshitharum'.

Great feats by Muthuswamy Dikshithar:

1: He got the Veena from the river Ganga in kAsi

2: Starting with the first song nAdAdi guruguho in Thiruththani at the Sannidhi of Lord Murugan, he went on to compose 440 kIrthanas with all his songs having the mudra guruguga. (there is the anecdote of an elderly man putting kalkand in his mouth when MD was in deep meditation at Thiruththani which effected a torrent of compositions out of him)

3: The story/anecdote about the song Anandamrthavarshini in raga Amrithavarshini causing rain in Ettayapuram.

4: In Tamil and Sanskrit there are 8 vibakthis (declinations / 'vEtrumai' in Tamil). Those krithis that are based on vibakthis are called Vibakthi Krithis. In this category, he composed 32 krithis . In a specific kirthna, the lyrical lines will be in the same declination. With the four names Abayambikai, kamalambikai, nilothpalambikai, madurambikai in those 8 vibakthis, he has thus composed ( 4 x 8 = 32 ) krithis

5: The composition on Siva 'Sri Viswanatham' is a crowning achievement. MD used 14 ragas to explain the greatness of Shiva. There are 14 ragas in one song!

Important ( and some rare ) pieces of information:

1: His songs contain the mudra Guruguha and also the raga name

2: He is one of the carnatic music trinities. His composition Vathapi Ganapathim Bhaje in Hamsadhwani is taught first to students! He lived in the same era as Syama Sastri and Tyagaraja. It is definite that he had met Sri. Syama Sastri and he may have met Sri. Tyagaraja as well.

3: His lifetime was 1775-1835. He was born in Thiruvarur. Passed away in Ettayapuram. He lived in kAsi for 5 years with Chidambaranada Yogi. He also lived for many years in Thiruvarur, thanjavur, Kancheepuram and ettayapuram

4. He was an expert in many fields including music, yoga sasthra, mantra, upanishad, Sanskrit and Telugu. He has sprinkled cascading Sanskrit words in his compositions. They have deep significance in Mantra and Tantra.

5: The Composition counts in the six religious aspects/categories: Pillayar approx 24, Sivan 100, Sakthi 150, Murugan 30, Rama, Krishna and Vishnu 60 and Navagraha 9

6. His compositions on ambAL are full of eternal and ancient secrets which can only be fully grasped by those who are well versed in Sri Chakram, Mantram, Yantram and Tantram. They are capable of providing great benefits to those who sing or hear them. The most significant of them are the nine navA varNa kirthanas. Similarly the 9 songs on navagraha are capable of removing graha related impediments.

7. His compositions contain countless mentions of happenings, incidents and anecdotes from Puranas and Ithihasas. Some not so well known ones are:
In one composition he mentions the sons of Kubera naLakUbaran and maNikrIvan were subject to the curse of Narada and were turned into Maruda trees. Later they get release from the curse from Krishna's ural ( food grain pounding instrument ).
Another incident MD mentions is Nruka maharaja who was born as a wolf because he gifted a cow that has already been gifted and he got release from that by Krishna

8: Dikshithar stayed for 4 years with a sAdu named Upanishad Brahmam. MD set to music the rAma Ashtapathi composed by the sAdu. (This is taken from a book in English)

9: His disciples include Kamalam, the woman dancer from Thiruvarur. MD composed 2 songs in Telugu for her to dance in the temple. The great dance exponents Ponnayya, Chinnayya, Vedivelu and Shivanandam (The Tanjore Quartet) came to Thiruvarur and witnessed the dance.

For those who seek more info, please see the book by N. Parthasarathy 'Shanmadamum Muthuswamy Dikshitharum' and the book in English by T.S. Parthasarathy 'Muthuswami Dkishitar' ( in the book Great Composers )

[satyabalu]

Thank you Vasanthakokilam for your initiative in taking the facts of MD to a wide group of Rasikas through English translation.

[Rsachi]

Vatapi for a beginner?
Tough ask indeed.

[vasanthakokilam]

Yes, I wondered about that too. That is the best translation I can come up with for 'இவர் செய்த ‘வாதாபி கணபதிம் பஜே’ என்ற ஹம்சத்வனி ராக பாடலைத் தான் முதலில் கற்பிப்பார்கள்.' If I stretch it, may be it can be interpreted as 'they teach vathapi in the beginning stages' but he does not quite state it that way. May be there are many schools that start with Vathapi as the first krithi?

When I learnt, my first krithi was 'giri rAja sutha' and it was a tough ask as well. The last sangathi that vocalists breeze through as if it is KG variety is quite a task on the flute for a beginner to pack so many swaras up and down Bangla and land Bang(on ta)la! Coming to think of it, I learnt Vathapi later on and I found it easier on the laya front.

[Ramasubramanian M.K]

Spring Cuckoo: Thanks for your remark on my "aruvai" humor!!!Re; the Translation,thanks for your painstaking efforts.I relish such "gestures" to accommodate Rasikas' requests rather than the occasional polemical exchanges that serve up more heat than light!!

[kvchellappa]

Giri raja sutha tanaya (son of the daughter of the king of mountains)
Many learn Mahaganapathim manasa as the first kriti perhaps.

[advaitin]

http://www.thehindu.com/books/literary- ... 684883.ece

interesting reading

[sankark]

https://www.youtube.com/channel/UCIQCuU ... Bp9-n603TQ

Nadajyoti Sri Muthuswamy Dikshitar - a channel hosting collection of MD kriti recitals

[vilomachapu]

Tomorrow, 31st is Dikshitar's Jayanti. On this occasion I would like to request our forumite RaviSri to discuss Dikshitar's horoscope. Sir, I remember your discussing with me the horoscope thro e-mail a couple of years ago. You had done this many years ago in sangeetham.com also. Can you please do it here, for the sake of those who may be interested. Also the horoscopes of other composers and musicians?

[RaviSri]

Unfortunately we don't have the birth time of Dikshitar. I had written to you about this. I also mentioned this in sangeetham.com, 15 years ago. We just have the planetary positions without the Lagna. Dikshitar could have been born at any time between 9 A.M on 23rd March 1776 to 8 A.M. 24tha March. This is the duration of the Krittika star in that month (panguni). I'll however try to discuss some basic features of the chart.

[RaviSri]

If anyone has birth details of musicians I request them to post the details. Required details are: Date of Birth; Time of Birth; Place of Birth. I have the full details only of MS, MLV and MDR.

[rajeshnat]

Unfortunately we don't have the birth time of Dikshitar. I had written to you about this. I also mentioned this in sangeetham.com, 15 years ago.

Ravisri,
Do you have a copy of what you wrote in sangeetham.com where you can recyle like what I am doing . Or is it govindA govindA after the plug was pulled ?

[RaviSri]

Or is it govindA govindA after the plug was pulled ?

It is govinda govinda for my posts on the Bulletin Board. But certain articles I wrote, e.g., explanations for Navavarana kritis of Dikshitar and certain humorous articles during the seasons of 2001 02 and 03 I have copies of. I can recount what I wrote regarding Dikshitar's horoscope which I'll do tomorrow. I had pointed out in my post that I had 'discovered' that Dikshitar was born in the year 1776 and not 1775 as was widely believed then, especially after the Music Academy celebrated 1975 as his birth bicentenary. Working backwards on the fact that Dikshitar was born in the year 'manmatha' (and also died in the year manmatha 60 years later), I had arrived at 1776. With the help of an astrological software i found that he was born on 23 or 24th March (krithika star) between 9 A.M. on 23rd and 8 A.M. on 24th. RKShriramkumar encouraged me to discuss the horoscope in detail. But before I could post two or three of my observations, I was confronted by two naysayers who found fault with my analysis. On their part they came up with some ridiculous analysis of the horoscope. I decided that Dikshitar should not be put to such difficulties and I stopped.

Many articles that I wrote, including Shyama Sastri's and Subbaraya Sastri's life, about the 5 panchabhuta sthalams all are lost. As were a large number of Raga Appreciation articles which I personally consider valuable and which were written by me alone, though it was mentioned that there was a "Raga Appreciation Team". But........... there it is.... Fate. Dikshitar's life story written by me as 'Eternal Pilgrim' survives in some website.