Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
Post Reply
keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Post by keerthi »

srinivasrgvn wrote: can you be a bit more specific as to why 'akhilAndEshwari' is a spuriously attributed composition? I just need details about this one kriti.
all my speculations are exactly that, and are all debatable, I'm sure.. i am terribly embarrassed by having to discuss the pedigree of songs.. i feel kind of guilty when I indulge in heresies such as this - 'spurious krti witch-hunt'.. as if I were questioning the honesty of our ancient/recent musicians and teachers..

These are the reasons why I would say that akhilAndEshwari is a misattribution..



1. the use of the word 'sArade' - nowhere in his other krti-s(AFAIK) has MD used the word sArada to allude to pArvati/dEvi.. When he has used it, it has been to refer to sarasvati alone..


2. most of MD's songs, if referring to a specific ksEtra deity, and not a generic ViSNu or muruga or gaNEsa, will have atleast a few other references to the ksEtra.. If this song is on akhilANDEswari, the goddess in the tiru-Anai-kAval kSEtra, near trichy, where also there is jambukEswara, it is strange that there is no other reference to the temple/river/tank/festivals/consort/local legends etc, as is MD's wont..

3.In this song you have words like jambhAri, lambOdara, lambalaka, the rhythm pattern of which easily allow for the inclusion of jambUpati/jambukEsha which is the name of akhilAnDEswari's consort.. {Even shama shAstri mentions this in shankari sham kuru}


nikhilalOkanityAtmike is a questionable construct, and doesn't make very coherent sense..

ditto lambAlakOdbhAvite/bhAsitE hasite ..
girish_a wrote: Feeling sad that Akhilandesari is not an MD kriti. Was listening to it just this morning.
How will the possibility of it not being a MD song reduce/detract the pleasure you get by listening to it..

Sangeet Rasik
Posts: 591
Joined: 16 May 2006, 00:19

Post by Sangeet Rasik »

Dear Rasiks,

Efforts to distinguish "spurious" kritis usually are based on premises/assumptions that:

1) the composer *must* have applied a "consistent" style of a certain "quality" and "type" (oddly enough, these "rules" are usually imposed by post-composition commentators than by the composer himself who may have had different ideas)

2) compositions were "set in stone" the first time and thereafter waere never returned to, improved, altered or polished.

Unfortunately human behavior is too complex to satisfy these simplistic assumptions. Only the reception of the Rgveda was "as is". What we have of it today is most likely to be "as received". Everything else after that from then to now is subject to the vagaries of human behavior. Music is no different.

Those who identify certain kritis of MD as "spurious" on grounds of "quality" don't seem to have any problem with his setting the "white man's military tunes" to some simple sahityas. Persons engaging in this type of activities are traditionally defined as "madhyama/adhama vaggeyakara". So if MD was capable of engaging in such activities, the basic assumptions above regarding "style" and "quality" appear to be rather shaky.

It is however helpful to identify the root causes of the present uncertainties -

1) lack of authentic historical record and critique
2) lack of "down-to-earth" biographical details pertaining to the compositional habits of the individual (not the strong suit of "bhakti"-based cultural environments)
3) tendency to elevate composers like MD and T to "saintly" status thereby overlooking realities of human behavior, and at the same time to dispute contributions of more "earthly" folks (e.g., the controversy over "authenticity" of ST compositions).

It may very well be that some kritis are "spurious", but this can only be gleaned from a factual record of reliable quality. If that does not exist, it's time to move on and let these matters of the past RIP. Let us therefore make sure the work of contemporary/future composers is correctly attributed and recorded.

Best Wishes,
SR

PS: Keerthi - in case there is any doubt: this post is not directed negatively at your posts. There are numerous suggestions of "spurious" compositions of past composers based on similar methods of deduction. After looking at these in some detail, I believe they cannot provide useful information.
Last edited by Sangeet Rasik on 07 Sep 2009, 02:48, edited 1 time in total.

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Post by keerthi »

SR-ji,

I find your post extremely fair-minded and reasonable; and agree with many of your observations..

You have enumerated the causes for the uncertainties admirably..
However, I respectfully disagree with your final comment that they cannot provide useful information.. Such researches and analyses are necessary to sustain a certain intellectual honesty.. this is a matter in which I am more convinced, than I am articulate, and will need to spend time to prepare an argument for my stance..

However, there is the alternate issue of quality control.. Leave aside the matter of 'genuine' and 'spurious'.. Even if we assume that all the songs with one signature, are by the same composer; is it not possible to judge the compositions vis-a-vis their literary, musical and other aesthetic components.. ?
It is not strictly necessary that all of a vAggEyakAra-s pieces were his/her best.. could we not consider the appraisal activity, for its role in a well-rounded critical evaluation of the compositions..?

raviraj
Posts: 78
Joined: 24 Apr 2006, 16:20

Post by raviraj »

srinivasrgvn wrote: can you be a bit more specific as to why 'akhilAndEshwari' is a spuriously attributed composition?
Just on the limited question of Akhilandeshvari in Dvijavanthi :

Let me advance another argument why Akhilandeshvari may not be("is not"?) MD's composition. Justice T L Venkatrama Iyer in his book on MD published by National Book Trust, without mincing words says pointedly that Ceta Sri is Dikshitar's "solitary" composition in that raga. Mark the word "solitary" as used more so as it comes from a honorable/renowned member of the Bar/ the tribe who always tellingly use words , especially so in writing :-)

Apart from the lyrical aspect, the melodic setting of the composition in contra distinction to Ceta Sri, seems to be more contemporary, making us wonder if indeed the composition or atleast its setting was the handiwork of u-know-who ;-)

Raj
Last edited by raviraj on 07 Sep 2009, 13:45, edited 1 time in total.

srinivasrgvn
Posts: 1013
Joined: 30 Nov 2008, 07:46

Post by srinivasrgvn »

-
Last edited by srinivasrgvn on 28 Dec 2009, 08:25, edited 1 time in total.

s_hari
Posts: 872
Joined: 20 May 2007, 18:45

Post by s_hari »

SSI's rendition is one of the best i have heard

http://sangeethamshare.org/kumar/Vocal/ ... etasri.mp3

-hari

Sangeet Rasik
Posts: 591
Joined: 16 May 2006, 00:19

Post by Sangeet Rasik »

Keerthi,
keerthi wrote:However, I respectfully disagree with your final comment that they cannot provide useful information..
Yes, I think you are right. "No useful information" is probably too strong a statement. I meant to say that I don't think it would lead to resolution of the "spuriousness" issues. I do agree, they will find a number of interesting bylanes even if they don't find the highway.
Such researches and analyses are necessary to sustain a certain intellectual honesty..
I am in full agreement. At one time I was very interested in this subject. But as I mentioned, intellectual honesty led me to question the basic assumptions of this mode of analysis (as I have mentioned above). I think the best solution is to find factual evidence, e.g. a manuscript of the disputed composition clearly attributing it to a different composer. All is not lost on this front. For example, other composers in the Travancore court used the "padmanabha" mudra - such as Ravivarman Tampi and Paramesvara Bhagavatar. Previously there was confusion in some quarters regarding authorship of some compositions, but I believe relevant manuscripts were available and dispelled this confusion. BMK and Semmangudi were given several compositions from ST manuscripts and have "tuned" several of them.
is it not possible to judge the compositions vis-a-vis their literary, musical and other aesthetic components.. ? It is not strictly necessary that all of a vAggEyakAra-s pieces were his/her best.. could we not consider the appraisal activity, for its role in a well-rounded critical evaluation of the compositions..?
Certainly. Several folks - including myself and Shrikaanth - have mentioned this point regarding "variability" in compositions - or quality control as you call it. Also there was a discussion on "appraisal" or "accreditation" of composers. I think a key aspect is to perhaps refresh/redefine/reinforce the measures of "quality" - both timeless measures as well as genre-/era-specific measures.

There are, of course, ways to keep a tight leash on quality control. But then again composition is an art so I will reserve comments on these aspects. Shravana-manana-nididhyasana will reveal these things to persons who take the time.

SR

bhavarasa
Posts: 75
Joined: 11 Nov 2009, 02:57

Post by bhavarasa »

There is a school of thought that says that if the kriti is not there in SSP, then it's not authentic.

While I personally don't think there are 450 kritis that MD composed, I also think that there are a handful (20 or so) that are not in SSP but have the correct grammatical construct (vibhakti) as well as complex prAsam in order to be attributed to Shri MD himself.

In general, I'd beware of songs that have "xyz God/Goddess rakshatu / rakshamAm, namastE, bhajeham" type songs, especially if they are not in SSP. AkhilAndeshwari, gajAmbA nAyakO and some others fall into this category. This could be the work of some of Dikshitar's kallidaikurucchi sishyAs (Anantakrishna Iyer and Vedanta bhAgavathar) and their disciples.

That is not a hard and fast rule though - for e.g., shrI subrahmanyO mAm rakshatu in tOdi has all the splendor, complex beauty and structure to be an MD original.

When it comes to Shri MD, one has to go by TLV and DKP's words. They have learnt directly from Ambi Dikshitar.

balusatya
Posts: 320
Joined: 13 Dec 2007, 17:17

Post by balusatya »

bhavarasa wrote:
When it comes to Shri MD, one has to go by TLV and DKP's words. They have learnt directly from Ambi Dikshitar.
I understand SKA S.Rajam has also learnt from Ambi Dikshidar.

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Post by cacm »

YES! Sri.S.Rajam learnt ALL the VARA KRITIS OF MD commonly called NAVAGRAHA KRITIS directly from AMBI DHIKSHITHAR (apart from other kritis); Actually because of his expertise as well as Padantharam almost all the vidwans of the Golden Era learnt them from him. In the book"Mythologies, Mysteries, Modern Facts of the Nine Planets" I co-authored with him the highlights are his paintings of the planets & a SPECIAL CD of his recordings of the Navagraha Kritis (without accompaniments) to bring out the music, poetry, lyrical beauty as well as the creativity of MD. VKV
Last edited by cacm on 13 Nov 2009, 23:44, edited 1 time in total.

bhavarasa
Posts: 75
Joined: 11 Nov 2009, 02:57

Post by bhavarasa »

@balusatya, Yes, you are correct. Interestingly, the other Rajam Iyer, Shri B. Rajam Iyer learnt his MD kritis from TLV.

The article below is quite illuminating on this topic:

http://www.carnatica.net/special/dikshitarsishyas.htm

archives.chennaionline.com/music/carnaticmusic/2004/319th.asp

http://archives.chennaionline.com/music ... /324th.asp

narayan
Posts: 383
Joined: 05 Oct 2008, 07:43

Post by narayan »

Some specific queries on spurious Dikshitar songs that are floating around, and some of which are sung by quite respectable folks. So if it is possible classify them and then move on in life, I'd like to do so. If this is already common knowledge, I would appreciate a pointer or two. Dumbed down answers welcome!

Some of the songs that I have in mind are
Rangapuravihara - Brindavanasaranga
Akhilandeswari - Dwijavanti - for which an analysis appears earlier
Sri Krishnam bhaja manasa - Todi - also analyzed earlier here
Abhayamba - Sahana and others
Annapurne visalakshi - Sama
and quite a few more which do not appear in the SSP.

Paradevata in Dhanyasi and other such seem quite grand and I could be persuaded that Dikshitar composed it. But the rule pointed out by Dr Shrikaanth says that the lengths of the first syllable vowel should match. So Paradevata (pallavi) and Shaarada rama (anupallavi) go against this. I have heard some arguments based on the quality of the lyrics (Akhilandeswari and others) and also the physical history of Dikshitar's wanderings (e.g. did he visit Guruvayoor). Here I admit that I am not a Sanskrit student, and have little or no knowledge of kshetras and other pointers to the content. I'm mostly interested in the ragas to the extent that I can follow them. So in these songs, I would like to get the words right and know the composer.

In this context, Sri Muladhara in Sri ragam (at least the way I've been taught it) does not follow the second consonant rule (Srimuladhara - Mula agyaana etc) - this is how it appears in the SSP transcription on
http://www.ibiblio.org/guruguha/ssp_cakram1-4.pdf
Any clarifications on this?

My general questions are:

a) Is there any song NOT in the SSP that is accepted by the pundits as Dikshitar's? The sources of Dikshitar songs that I have seen at some point are the 15 vol set of Sundaram Iyer, the 3rd vol of the KMM (which I don't seem to see these days) and the compilation by T.K.Govinda Rao. Do any of these discuss this controversy at all?

b) Who composed all these other songs, in approx Dikshitar format, (but glaringly substandard to the experts)? I'm quite OK once the composer is identified, as I believe is the case with Needu charanamule and Nata jana paripala in Simhendramadhyamam.

This issue was in mind for a long time, but things came to a head on reading the blogpost on People for Ethical Treatment of Dikshitar kritis, which appears in http://themememe.blogspot.com/2009/10/p ... ation.html

bhavarasa
Posts: 75
Joined: 11 Nov 2009, 02:57

Post by bhavarasa »

narayan wrote: My general questions are:

a) Is there any song NOT in the SSP that is accepted by the pundits as Dikshitar's? The sources of Dikshitar songs that I have seen at some point are the 15 vol set of Sundaram Iyer, the 3rd vol of the KMM (which I don't seem to see these days) and the compilation by T.K.Govinda Rao. Do any of these discuss this controversy at all?

b) Who composed all these other songs, in approx Dikshitar format, (but glaringly substandard to the experts)? I'm quite OK once the composer is identified, as I believe is the case with Needu charanamule and Nata jana paripala in Simhendramadhyamam.

This issue was in mind for a long time, but things came to a head on reading the blogpost on People for Ethical Treatment of Dikshitar kritis, which appears in http://themememe.blogspot.com/2009/10/p ... ation.html
Answer to a) Shri SubrahmanyO mAm rakshatu is one such song that does not appear under janatOdi in SSP but is generally accepted as a MD kriti.

Answer to b) My understanding is that a lot of the clones came from the Kallidaikurucchi disciples of MD and SD. Shri VedAnta BhAgavatar and Shri Anantakrishna Iyer. Now, they could be doing this simply out of reverence to their guru/grand-guru and not out of any personal agenda. But nevertheless, as you rightly pointed out, they are substandard compared to the original.

narayan
Posts: 383
Joined: 05 Oct 2008, 07:43

Post by narayan »

Thanks, bhavarasa. Just to correct the impression that I think the lyrics of any of the other songs are substandard. I do not know enough (or any?) Sanskrit to come to such a judgement, but others who are knowledgeable have said so. Happy to know that Sri Subrahmanyo mam rakshatu is legit!

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

Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

I may go this weekend to tiruvarur. I do know there is a memorial for MD there at tiruvarur.Can some one guide me how to go to that place in tiruvArur, any landmarks etc will help.

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

Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

...

harimau
Posts: 1819
Joined: 06 Feb 2007, 21:43

Re:

Post by harimau »

bhaktha wrote:I am told that there's kriti of Shri Dikshitar's in which there is a mention about a tsunami that affected a particular town....which kriti is it?
-bhaktha
In case nobody has answered this question:

The kriti in question is "Soundara rajam asraye" in Brindavani.

It contains the words "ambudhi garva nigraham" meaning, "He quelled the pride of the sea". Perhaps this is a reference to a tsunami in earlier times which might have damaged Nagappattinam but did not damage the Soundararaja Perumal temple.

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Re:

Post by rshankar »

harimau wrote: "ambudhi garva nigraham" meaning, "He quelled the pride of the sea".
I always assumed that this is a reference to the episode in the rAmAyaNam where Sri rAma waits for 3 days asking the ocean's help to cross over to lankA, and in the end when his patience exhausted he takes up his bow and an gets ready to shoot an arrow into the ocean to dry it up the King of the Ocean comes to his senses and begs forgiveness, and offers up the unique talents of nala and nIla to make the bridge of floating stones across the strait...

harimau
Posts: 1819
Joined: 06 Feb 2007, 21:43

Re: Re:

Post by harimau »

rshankar wrote: "ambudhi garva nigraham" meaning, "He quelled the pride of the sea".

I always assumed that this is a reference to the episode in the rAmAyaNam where Sri rAma waits for 3 days asking the ocean's help to cross over to lankA, and in the end when his patience exhausted he takes up his bow and an gets ready to shoot an arrow into the ocean to dry it up the King of the Ocean comes to his senses and begs forgiveness, and offers up the unique talents of nala and nIla to make the bridge of floating stones across the strait...
Sri Muthuswami Deekshithar was quite particular in getting the details of the sthala puranam relating to the temple correct in the krithis he composed about places of pilgrimage.

In tracing the route of Lord Rama through South India, there is no history of Him having visited Nagappattinam.

However, the village of Thiruppullani near Rameswaram has a temple to Darbha Sayana Rama. Legend has it that Lord Rama lay on a bed of darbha grass here waiting for the lord of the seas to grant him an easy path to build the Sethu to Lanka.

The Narayanagowlai krithi "Sri Ramam Raghukulabdhi Somam" references this where the words "kuvalaya nayanam su-darbha sayanam" occur in the charanam.

Based on this, one may assume that the krithi "Soundara Rajam" possibly references an occurrence of a tsunami in the distant past.

ksrimech
Posts: 1050
Joined: 03 Feb 2010, 04:25

Re: Mutthuswamy Dikshithar (Krithis)

Post by ksrimech »

Both nAgapaTTinam and tiruppullANi are AzhvAr pADal peRRa divya kSEtrams.

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

In tyagarAja's song on the the nAgapattinam deity nIlAyatAkSI, 'karmamE balavantamAya talli kAyArOhaNa-jAyA'; he refers to how she subdued the arrogance of the ocean, who 'wished' to enter into the land at nagapaTTinaM.

It may be a series of legends associated with this coastal town, that various local deities, protect the townsfolk from the rage of the ocean.


nAgapaTTinam nIlAyatAkSI and Kanci varada are two musical celebrities, as the tiruvArUr triumvirate have sung all three.

ksrimech
Posts: 1050
Joined: 03 Feb 2010, 04:25

Re: Mutthuswamy Dikshithar (Krithis)

Post by ksrimech »

Keerti and others, any known recording of sAmini rammana rAvE, Anandabhairavi varNam of SyAmASAStri on tirukacchi varadan? Thank you. :grin:

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

One of my long time efforts has been to trace the Anandabhairavi varNaM of shyAma shAstri. i have asked every vidwAn and scholar i meet, about this one. The information, (fairly futile) that i have gathered about it is here -

1. it is available in print, in Vidya Shankar's collection of Shyama shAstry's songs, and in the appendix of the SSP [with mild variations.]

subsequent publications have a copy of one of these two versions.

2. I heard, and confirmed from Sri cienu that SMt. MSS had learnt this one from Semmangudi; and have performed it; but no recording is traceable.

3. R.K.Sriramkumar told me that PaTTamAL had sung it from VijayawaDa radio for a special SS commemorative concert. Needless to say, no recording exists.

4.Smt. Saraswathi Vidyarthi, music lecturer at vijaywada, presented a paper, and wrote an article, about the varnam in the Dec 2008 Music academy sessions/ journal.

5. more recently, R.N.Srilatha, a senior respected musician from Mysore, sister of the Rudrapatnam brothers, conducted a workshop in Mumbai, where she taught this, and other uncommon krti-s of ShyAma shAstri.

Hope springs eternal, and some day we will lay our hands on a pAThAntaraM.

I learnt it off the notation; and can tell you that it is an amazing composition, which has enough material for a doctoral thesis in itself.

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

Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

Nice writeup on kamalAmbanavaavarna
http://www.hindu.com/fr/2010/10/08/stor ... 130400.htm

srikant1987
Posts: 2246
Joined: 10 Jun 2007, 12:23

Re: Mutthuswamy Dikshithar (Krithis)

Post by srikant1987 »

5. more recently, R.N.Srilatha, a senior respected musician from Mysore, sister of the Rudrapatnam brothers, conducted a workshop in Mumbai, where she taught this, and other uncommon krti-s of ShyAma shAstri.
Then you can go to her ... or maybe RKS or Rudrapatnam bros know that too. ;)

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

Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat »

Excellent writeup by v.sriram, a nice chronicle connected more with British Raj and MD

http://www.hindu.com/mag/2010/10/24/sto ... 170500.htm

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu »

I read an invitation from Tiruvarur temple which states MD has sung on "Mahalakshmi"who is present (Vasam cheyyum in Tamil) there..I am curious to know what is the specific kriti .Where is the sannidhi of mahalakshmi in Tiruvarur?I am also told Mahalakshmi is doing tapas to regain mahavishnu(according to sthala purana narrated by a devotee who had been residing there)who had his head regained/refixed(-excuse for the possible communication gap)

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu »

reply found in"Bhakthi" pasted.
#2 06 Nov 2010 18:54 Re: Mahalakshmi in Tiruvarur
May be this song:
" P: mangala dEvathayA thvaYa bahumAnithOham sri " rAgam: dhanYasi; tAlam: Adi

AP: pungava kamalAlayayA bHogha bhOgYalayayA
jangama sThavara lOka janana sthithi layayA jaya

CH: haridrAkumkuma vastrAlankrutha vigrahayA
daridra dukHAdi muRdhanyAshivanigrahayA
varadarAjagOpala hridaya sarasijagrahayA
varalakshmyA harihaya guruguha bhakthAnugrahayA
surArchitha padAmbujayA sudhAsAgarathmajayA
suravinutha shivAnujayA mAyAbIjayA vijayA

( Reference to kamalAlaya in charanam may indicate ref is Thiruvarur )

ksrimech

Posts: 918
| QUOTE | REPORT TO MOD
#3 06 Nov 2010 21:18 Re: Mahalakshmi in Tiruvarur
This was song was probably composed right after hiraNmayim lakSmim (lalitA). kamalAyam is indeed the kamalAmbA temple in tiruvArur. This is the tiruvArur tyAgarAja temple. This kamalAmbA is waiting to get married to tyAgarAjasvAmi. Legend goes like "The day the stone chariot moves, that day kamalAmbA will marry tyAgarAja". MuttusvAmi dIkSitar always calls kamalAmbA as mahAlakSmi, varalakSmi, hariyuvatim, sivAnujaya, etc!

nag45
Posts: 3
Joined: 23 Aug 2010, 18:31

Re: Mutthuswamy Dikshithar (Krithis)

Post by nag45 »

Santhana Gopala Krishnam upasmahe--- To which Deity is the krithi addressed? Is it a Mannargudi Kshethra Krithi?

Thanks

vgovindan
Posts: 1865
Joined: 07 Nov 2010, 20:01

Re: Mutthuswamy Dikshithar (Krithis)

Post by vgovindan »

nag45 wrote:Santhana Gopala Krishnam upasmahe--- To which Deity is the krithi addressed? Is it a Mannargudi Kshethra Krithi?
According to http://www.carnatica.net/special/md-kshetra-iii.htm (kshEtra kRtis of dIkshitar), he is stated to have composed only mOhanaM kRti 'rAja gOpAlaM' at mannArguDi.

satyabalu,

According to ibid website, 'hiraNmayIM lakshmIM' was sung by dIkshitar at mannArguDi village.

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

vgovindan wrote:
According to http://www.carnatica.net/special/md-kshetra-iii.htm (kshEtra kRtis of dIkshitar), he is stated to have composed only mOhanaM kRti 'rAja gOpAlaM' at mannArguDi.

satyabalu,

According to ibid website, 'hiraNmayIM lakshmIM' was sung by dIkshitar at mannArguDi village.

srIrAjagOpAla - the iconic sAveri song and srIvidyArAjagOpAlam in jaganmohanam are both definitely addressed to the mannarguDi deity. Thus the 'only' in the above reference is wrong.


satyabalu,

In the sanctum of the Mannargudi temple, they have several metal icons (cala vigraham-s) including one of infant kRshNa, and it is a belief that cradling this icon will confer children to the childless.
I have seen similar icons in other srIvaishnava shrines, and childless devotees are allowed to cradle the deity, in prayer for offspring.

N.R.Patanjali
Posts: 15
Joined: 20 May 2007, 18:56

Re: Mutthuswamy Dikshithar (Krithis)

Post by N.R.Patanjali »

Has anyone in this forum analysed and interpreted sri Deekshidar's kirtis
in regard to their philosophical import , particularly advaitic philosophy ?
If so, I would like to get the benefit of such research. Thanks.

venkatamakhi
Posts: 15
Joined: 17 Feb 2011, 19:19

The richness of Dikshitar's compositions

Post by venkatamakhi »

Often times, we run into conversations where the distinctiveness of Dikshitar's music is stressed. What is it that contributes to this distinctiveness? What are the features to look for in order to appreciate a rendition of the kritis of Dikshitar?

In this article, we identify and elucidate five different factors that contribute to the individuality of Dikshitar’s repertoire.. The first two are clearly definable as they relate to the technical aspects of the composition in question. The other three aspects go beyond the individual composition and cover a wider and deeper knowledgebase.

Here are the five aspects to look for in the repertoire of kritis created by Dikshitar.

Aspect 1: Sophistication in the delineation and exposition of various ragas
i) unique gripping portraits of raga
ii) a slow and majestic gait that exhudes raga bhava in every microtone (sruti) rendered

A proper rendition of a kriti of dikshitar places demands on the vocalist's ability to maintain sruti suddha (tonal purity), breath control and the ability to deliver upon jaarus (glide across pitches) spanning more than an octave in some cases.

Aspect 2: the beauty of the sahityas and the various forms of textual ornamentation such as
i) alliteration
ii) skilful use of the name of the raga
iii) skilful use of the signatuare of the composer 'guruguha'

A proper rendition of a kriti of Dikshitar places demands on the vocalist's ability to render sanskrit lyrics with precision, breath control and the ablity to render 'madhyama kala sahityas' with pauses for breath at the right instances so as to render the textual phrases as they ought to be.

Aspect 3: the presentation of details surrounding the deity being addressed -- with references to the following
i) stala purana (legends related to the temple where the deity is enshrined)
ii) reference to Indian puranic lore
iii) agama and tantric worship traditions
iv) deep philosophical knowledge rooted in the Upanishadic realm
v) jyotisha and other realms of knowledge
Given his pluralistic orientation, Dikshitar’s kritis are addressed to a range of deities enshrined at various places in India (particularly in the state of Tamilnadu with a rich temple heritage) that he visited during his lifetime.

Aspect 4: Variety in the usage of ragas and talas
Dikshitar has composed in all of the 72 raaganga ragas that were enunciated by the parampara of the musicologist Venkatamakhi and in several of the janya (child) ragas. He has also written kritis in a range of tala cycles that have been off limits for most other composers.

Aspect 5: A well laid out scheme of groups of compositions, as in
- the vaara kritis, the panchabhuta linga kritis , the kamalamba navavarana kritis , the tyagaraja vibhakti kritis and so on.

The five aspects above result in the following.

Aspect 6: A marked degree of sophistication that weaves the technical brilliance and the knowledgebase described above into a pictorial essay with the most superior sense of aesthetics.

Mastery over aspects 1 and 2 are necessary conditions for a technically sound rendition of a kriti of Dikshitar, however they are not sufficient for a wholesome rendition of the works of Dikshitar. What is essential for this, is a basic appreciation of the background of the kriti and some of the elements outlined in 3) and an understanding of the context of the compositions (4 and 5 above).

When a Dikshita kriti rendition is complete with all of the five elements above in place, the performer begins to feel a sense of awe as they experience the fullest impact of Aspect 6 and in the process they get transported to a different world. And the effect shows on the listener too.

(I had written this article earlier for a column on Chennaionline).
Regards,
Kanniks Kannikeswaran

vgovindan
Posts: 1865
Joined: 07 Nov 2010, 20:01

Re: Mutthuswamy Dikshithar (Krithis)

Post by vgovindan »

Being not qualified in Music I am not competent to comment on the aspects of Music of Dikshitar. But there is a unique - not so well appreciated - commonality among all the great composers - Dikshitar and OVK were Sri Vidya upasakas. I do not know whether SS was also a Sri Vidya upAsaka. Though tyAgarAja did not practice SrI Vidya, he adopted nAda yOga. This is not any coincidence. nAda brahmaM - nAdOpAsana - nAda yOga - these terminologies need to be better appreciated and understood by practising musicians for their immediate relevance to music.

Dikshitar openly declares 'vidEha kaivalaM yAmi'. I have a feeling that Dikshitar's life has not yet been appreciated in its totality.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Re: Mutthuswamy Dikshithar (Krithis)

Post by cmlover »

Kanniks
A quick question.
Peripatetic Dikshitar composed kritis on deities in the different temples based on the sthalapurana and iconography.
From your personal investigations have you observed any discrepancies in his factual presentations...?

venkatamakhi
Posts: 15
Joined: 17 Feb 2011, 19:19

Re: Mutthuswamy Dikshithar (Krithis)

Post by venkatamakhi »

Dikshitar is meticulous in his collating his observations and presenting them in the form of kritis. that are tightly constructed with adherence to prosodical rules.
Are there exceptions? 'siva ganaadi visvaasam' a phrase in govardhanagirisam - a kriti not documented in the sangita sampradaya pradarsini is for instance, a description that raises questions.
More on this later.

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu »

Navagraha kritis -I wonder if there are scope for neraval in these kritis.
I have heard "Dheena Rakshakam Poojitha Vaidyanatha Skhetram " In Angarakam asrayami-Surati.Any other?

bhakthim dehi
Posts: 539
Joined: 24 Feb 2014, 21:28

Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi »

drshrikanth sir.. can u post the belowmentioned linl/post; the link given is not working.

Also please see my post on sangeetham regarding rules of prosody in musical compositions. Heres the link

http://sangeetham.com/bboard/quest.php3 ... 5&qid=5292[/b]


Thank u sir.

Lakshman
Posts: 14019
Joined: 10 Feb 2010, 18:52

Re: Mutthuswamy Dikshithar (Krithis)

Post by Lakshman »

The link does not work.

harimau
Posts: 1819
Joined: 06 Feb 2007, 21:43

Re:

Post by harimau »

keerthi wrote:
These are the reasons why I would say that akhilAndEshwari is a misattribution..

1. the use of the word 'sArade' - nowhere in his other krti-s(AFAIK) has MD used the word sArada to allude to pArvati/dEvi.. When he has used it, it has been to refer to sarasvati alone..
The last line of the charanam in the krithi "Sri Neelothpala Nayike" refers to the Goddess as "Sankara Sannutha Bale, Sarade, Gana Lole".

Neelothpalamba, being the resident deity of the Tiruvarur temple, is a representation of Parvathi.

PS. I only wrote this to correct an error in your observation. Akhilandeswari may still be a misattribution.

harimau
Posts: 1819
Joined: 06 Feb 2007, 21:43

Re:

Post by harimau »

shadjam wrote:Can someone please explain the reason behind Dikshitar not singing in praise of Lord Muruga at Thiruparanguntram? Thanks
Sri T K Govinda Rao in his book on Deekshithar krithis, mentions the song Gajamba Nayako in Raga Jenjuti as being composed on the deity at Tirupparankundram.

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

The last line of the charanam in the krithi "Sri Neelothpala Nayike" refers to the Goddess as "Sankara Sannutha Bale, Sarade, Gana Lole".
The way I have learnt it, as well as the versions in the 4 editions of the Sampradaya pradarshini I could refer, are as follows - shAradA-gAna-lOlE. In this version, shArada is only a reference to sarasvati.

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar »

Keerthi - Can you confirm something else for me? Is the name of the dEvi in tiruvaNNAmalai apitakucAmbA or apItakucAmbA?

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Mutthuswamy Dikshithar (Krithis)

Post by Rsachi »

I thought it was apIta-unsuckled
apItakucAmba samEtam –in the company of the Goddess whose teats are yet to be suckled.
http://sriramv.wordpress.com/2012/11/29 ... dikshitar/

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar »

The meaning of the name is clearer from the tamizh name for the deity - uNNA mulai

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

A conversation I overheard, as I waited in queue to see the sanctum of the goddess, at the AruNacalEswara shrine -

Girl: What sAmi is enshrined here?

Parent: We saw that big sanctum illiyA? That was Annamalé. This one is his tangaci, Unnamalé...

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar »

keerthi wrote:A conversation I overheard, as I waited in queue to see the sanctum of the goddess, at the AruNacalEswara shrine -

Girl: What sAmi is enshrined here?

Parent: We saw that big sanctum illiyA? That was Annamalé. This one is his tangaci, Unnamalé...
I really hope you made that one up, Keerthi!

keerthi
Posts: 1309
Joined: 12 Oct 2008, 14:10

Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi »

Nope.. Call it folk etymology. Call it the subaltern reclamation of high culture.. This is in the hoary tradition of KalidAsa who made up etymologies that fit his poetic sensibilities, sAyaNa who conjugated obscure verbs to death to derive lofty meanings for unfamiliar terms from the Rk Samhita, and matanga who gives the most ludicrous reasons for the names of the seven swaras.

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: Mutthuswamy Dikshithar (Krithis)

Post by venkatakailasam »

Muthuswami Dikshitar (March 24, 1775 – October 21, 1835)

concert 276- Muthuswamy Dikshadar…
His Mukthi day on 21-Oct-2014..

Listen at:

http://myblogkumara.blogspot.in/2014/09 ... art-x.html

001-vAtApi-gaNapatiM--haMsadhvani--Adi—DKJ
002-srI-vaidyanAthaM--aThANA--Adi--Bombay-Sisters
003-srI-vAnchanAtha--surati--Adi--Trichur-Ramachandran
004-srI-varalakSmi--srI--rUpakaM—MSS
005-srI-vaTukanAtha--dEvakriyA--misra-cApu--Sudha-Raghunathan
006-srI-ve.nkatagirIsaM--surati--Adi—SSI
007-srI-ve.nkatesaM--kalyANavasantaM--rUpakaM--M-Santhanam
008-srI-vENugopAlA--kuranji--jhaMpa—MLV
009-srI-vidyA-rAjagopAlam--jaganmohini--tisra-EkaM--Vedavalli.R
010-SrI Viswanatham Bhajeham-MLV-Dikshadar
011-varadarAja-vAva--ga.ngAtara.ngiNi--rUpakaM--Mambalam-Sisters
012-vEdapurIsvaraM--dhanyAsi--Adi--Mambalam-Sisters
013-vINAbhEri--AbhEri--Adi--S-Ramanathan
014-vadAnyEsvaraM--dEvagAndhAri--Adi--SSI

Just to remember...

Sri Muthuswami Dikshithar attained the Lotus feet of Kamalambika on this day - Naraga Chaturdashi, 178 years ago. Legend has it that, when Dikshithar knew that his time on Earth was about to get over, he called upon all his disciples and asked them render the krithi "Meenakshi Memudam Dehi" in the raga "Gamakakriya".
When the Sishyas rendered the Anupallavi line "Meeenalochani Pasamochani", (the one who has eyes in the shape of a fish and the one who liberates) he asked them to repeat the lines and shed his mortal coils exclaiming "Shive Pahi !!"

This Krithi is rendered here by Bharat Ratna Smt M S Subbulakshmi, a native of the temple town of Madurai.In Smt.Gowri Ramnarayan's words "Perhaps it is Subbulakshmi's natural adherence to the composer's vision even while improvising freely on a line from the composition, made her a favourite with lay listeners as well as veteran musicians. Listen to her painting the beauty of Minakshi, as Madhurapuri nilaye, the deity of Madurai, Subbulakshmi's own hometown." True to those words, Smt MSS takes us on a trip to Madurai, during her neraval at "Madhura puri Nilaye". This is followed by a brisk round of Swarams.

http://youtu.be/qki_U_i-At4

narayara000
Posts: 308
Joined: 13 Jul 2015, 06:59

Re: Mutthuswamy Dikshithar (Krithis)

Post by narayara000 »

Hello

Do you know where I can find recordings of any of these rare Dikshitar krithis:

akhilANDEshvarO rakSatu - shuddha sAvEri/rUpakaM
paramEshvarENa pAlitOsmyahaM - pUrvavarALi/Adi
cidambarEshvaraM cintayAmi - bhinnaSaDjaM/Adi
mOhana nATa rAgapriyE lalitE - mOhana nATa/Adi
vishvanAthaM bhajEhaM satataM - naTAbharaNaM/Adi
rAjarAjEndra cOjha pratiSThitaM - guNDakriya/tripuTa
nIlakaNThAya namO namastE - nAda rAmakriya/mishra cApu
kailAsanAthaM bhajEhaM - vEgavAhini/Adi
chAyAvatIM AnandavallIM - chAyAvati/Adi
abhayAmbA nAyaka harisAyaka - *Anandabhairavi/Adi
paradEvatE namastE - *Anandabhairavi/Adi
kusumAkaraviMAnArUDhAM kundamukuLa radanAM vandEhaM - Ahiri/Adi
shrI mahArAHnjI (maNi pravALAm) - kApi/khaNDa EkaM
mahAdEvEna pAlitOsmyahaM - dEvamanOhari/Adi
praNatArttiharaM namAmi satataM - nAyaki/Adi
shiva kAyArOhaNEshAya namastE shrI - rudrapriya/rUpakaM
parAshaktiM bhajarE - rudrapriya/Adi
kAmAkSi mAM pAhi - shuddha dEshi/rUpakaM
rAmakRSNEna samrakSitOhaM rAmAyaNabhAgavatapriyENa - sahAna/Adi
saindhavI rAgapriyE shaHNkari - saindhavi/Adi
parAshakti Ishvari jagajjanani - gaurIvELAvaLi/Adi
EkAmranAthAyanamastE EkAnEka phaladAya - vIravasantaM/rUpakaM
abhayAmbA nAyaka varadAyaka - kEdAragauLa/Adi
bAlAmbikAyAh tava - kEdAragauLa/rUpakaM
mahAliHNgEshvarAya namastE shrI madhyArjunapuri - *aThANA/Adi
shrI madhurAmbikayA rakSitOhaM - *aThANA/mishra cApu
jagadIsha manOhari - *Isha manOhari/rUpakaM
daNDanAthayA rakSa mAM - kamAs/Adi
bAlakucAmbikE mAmava - suraTi/rUpakaM
shrI vENugOpAlaM bhaja mAnasa satataM - shaHNkarAbharaNaM/rUpakaM
kumbhEshvarAya namastE shrI maHNgaLAmbAsahitAya - kEdAraM
bRhadIshvaraM bhajarE rE citta - nAgadhvani/Adi
shaHNkaranArAyANaM bhajEhaM - nArAyaNadEshAkSi/Adi
shrI sAmbasivaM cintayAmyahaM - bilahari/Adi
madhurAmbAyAstava dAsOhaM - *bEgaDa/mishra cApu
nAgAbharaNaM nagajAbharaNaM namAmi - nAgAbharaNaM/Adi
shailarAjakumArI shaHNkari - shailadEshAkSi/Adi
shrInAtha sOdarIM tiraskariNIM namAmi - nabhOmaNi/rUpakaM
sadAshivEna shaHNkarENa - sindhurAmakriya/Adi
stavarAjAdinuta bRhadIsha - stavarAjaM/mishra cApu
bRhadIshakaTAkSENa prANinO jIvanti - jIvantikA/rUpakaM
shrI rAjarAjEshvarI ramAmanOharI - ramAmanOhari/Adi
tiruvaTIshvaraM namAmi - gamakakriya/rUpakaM
shyAmaLAHNgi mAtaHNgi namastE - shyAmaLaM/Adi
brahmavidyAmbikE shrI shvEtAranyEshanAyikE - kalyANi/Adi
shrI kRSNO mAM rakSatu - nAsAmaNi/rUpakaM

Thanks.

Post Reply