Mutthuswamy Dikshithar (Krithis)
-
- Posts: 9936
- Joined: 03 Feb 2010, 08:04
Re: Mutthuswamy Dikshithar (Krithis)
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
http://www.hindu.com/mag/2010/10/24/sto ... 170500.htm
-
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Mutthuswamy Dikshithar (Krithis)
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)
-
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Mutthuswamy Dikshithar (Krithis)
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!
#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!
-
- Posts: 3
- Joined: 23 Aug 2010, 18:31
Re: Mutthuswamy Dikshithar (Krithis)
Santhana Gopala Krishnam upasmahe--- To which Deity is the krithi addressed? Is it a Mannargudi Kshethra Krithi?
Thanks
Thanks
-
- Posts: 1866
- Joined: 07 Nov 2010, 20:01
Re: Mutthuswamy Dikshithar (Krithis)
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.nag45 wrote:Santhana Gopala Krishnam upasmahe--- To which Deity is the krithi addressed? Is it a Mannargudi Kshethra Krithi?
satyabalu,
According to ibid website, 'hiraNmayIM lakshmIM' was sung by dIkshitar at mannArguDi village.
-
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Mutthuswamy Dikshithar (Krithis)
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.
-
- Posts: 15
- Joined: 20 May 2007, 18:56
Re: Mutthuswamy Dikshithar (Krithis)
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.
in regard to their philosophical import , particularly advaitic philosophy ?
If so, I would like to get the benefit of such research. Thanks.
-
- Posts: 15
- Joined: 17 Feb 2011, 19:19
The richness of Dikshitar's compositions
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
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
-
- Posts: 1866
- Joined: 07 Nov 2010, 20:01
Re: Mutthuswamy Dikshithar (Krithis)
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.
Dikshitar openly declares 'vidEha kaivalaM yAmi'. I have a feeling that Dikshitar's life has not yet been appreciated in its totality.
-
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Re: Mutthuswamy Dikshithar (Krithis)
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...?
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...?
-
- Posts: 15
- Joined: 17 Feb 2011, 19:19
Re: Mutthuswamy Dikshithar (Krithis)
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.
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.
-
- Posts: 915
- Joined: 28 Mar 2010, 11:07
Re: Mutthuswamy Dikshithar (Krithis)
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?
I have heard "Dheena Rakshakam Poojitha Vaidyanatha Skhetram " In Angarakam asrayami-Surati.Any other?
-
- Posts: 539
- Joined: 24 Feb 2014, 21:28
Re: Mutthuswamy Dikshithar (Krithis)
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.
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.
-
- Posts: 14030
- Joined: 10 Feb 2010, 18:52
Re: Mutthuswamy Dikshithar (Krithis)
The link does not work.
-
- Posts: 1819
- Joined: 06 Feb 2007, 21:43
Re:
The last line of the charanam in the krithi "Sri Neelothpala Nayike" refers to the Goddess as "Sankara Sannutha Bale, Sarade, Gana Lole".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..
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.
-
- Posts: 1819
- Joined: 06 Feb 2007, 21:43
Re:
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.shadjam wrote:Can someone please explain the reason behind Dikshitar not singing in praise of Lord Muruga at Thiruparanguntram? Thanks
-
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Mutthuswamy Dikshithar (Krithis)
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.The last line of the charanam in the krithi "Sri Neelothpala Nayike" refers to the Goddess as "Sankara Sannutha Bale, Sarade, Gana Lole".
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Mutthuswamy Dikshithar (Krithis)
Keerthi - Can you confirm something else for me? Is the name of the dEvi in tiruvaNNAmalai apitakucAmbA or apItakucAmbA?
-
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Mutthuswamy Dikshithar (Krithis)
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/
apItakucAmba samEtam –in the company of the Goddess whose teats are yet to be suckled.
http://sriramv.wordpress.com/2012/11/29 ... dikshitar/
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Mutthuswamy Dikshithar (Krithis)
The meaning of the name is clearer from the tamizh name for the deity - uNNA mulai
-
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Mutthuswamy Dikshithar (Krithis)
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...
Girl: What sAmi is enshrined here?
Parent: We saw that big sanctum illiyA? That was Annamalé. This one is his tangaci, Unnamalé...
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Mutthuswamy Dikshithar (Krithis)
I really hope you made that one up, Keerthi!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...
-
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Mutthuswamy Dikshithar (Krithis)
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.
-
- Posts: 4170
- Joined: 07 Feb 2010, 19:16
Re: Mutthuswamy Dikshithar (Krithis)
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
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
-
- Posts: 308
- Joined: 13 Jul 2015, 06:59
Re: Mutthuswamy Dikshithar (Krithis)
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.
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.
-
- Posts: 539
- Joined: 24 Feb 2014, 21:28
Re: Mutthuswamy Dikshithar (Krithis)
Check in sangeethapriya.org
-
- Posts: 308
- Joined: 13 Jul 2015, 06:59
Re: Mutthuswamy Dikshithar (Krithis)
There are no recordings of any of these krithis on sangeethapriya.
-
- Posts: 539
- Joined: 24 Feb 2014, 21:28
Re: Mutthuswamy Dikshithar (Krithis)
Contact me personally. I ll try giving u some of the recordings which I possess.
This is the first time I across this krithi Ramayana bhagavatha in,sahana. Where is this, ( I mean which book or site) listed?
This is the first time I across this krithi Ramayana bhagavatha in,sahana. Where is this, ( I mean which book or site) listed?
-
- Posts: 308
- Joined: 13 Jul 2015, 06:59
Re: Mutthuswamy Dikshithar (Krithis)
I have sent you an email.
-
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Mutthuswamy Dikshithar (Krithis)
The kamas song should be daNdanAthayA rakSitOsmyaham not daNdanAthayA rakSa mAm, as can be found in books as well as certain oral parampara-s. The bhinnaSaDja song too suffers from such mistakes in printed versions.
-
- Posts: 59
- Joined: 11 Sep 2015, 22:27
Re: Mutthuswamy Dikshithar (Krithis)
@narayana000 I think you mean Ramakrishnena Samrakshitoham?
-
- Posts: 14030
- Joined: 10 Feb 2010, 18:52
Re: Mutthuswamy Dikshithar (Krithis)
shrI krSNO mAm rakSatu is available in concert # 4151 (01 uploader) sung by Baby Sriram at the Sangeethapriya site.
-
- Posts: 227
- Joined: 09 Feb 2010, 08:59
Re: Mutthuswamy Dikshithar (Krithis)
In Kayarohanesham and Ambaneelayatakshi, Sri MD refers to the kshetra as Shivarajadhani while in Soundarajam Ashraye he names it as Nagapattina.
DId the place have two names and Shivarajdhani got obscured over a period of time while Nagapattina remained?
DId the place have two names and Shivarajdhani got obscured over a period of time while Nagapattina remained?
-
- Posts: 539
- Joined: 24 Feb 2014, 21:28
Re: Mutthuswamy Dikshithar (Krithis)
Shivarajadhani is the term usually used in Shaiva literature. This term do not find its presence in any of the works by Vaishnavite poets. So he used the former term in Amba neelayathakshi, a song dediacted to Ambaal and not in Soundararaajam.
-
- Posts: 308
- Joined: 13 Jul 2015, 06:59
Re: Mutthuswamy Dikshithar (Krithis)
Does anyone have a recording of brhadISa kaTAkSEna prANinO jIvanti, in jIvantikA, the 48th melakarta?
-
- Posts: 308
- Joined: 13 Jul 2015, 06:59
Re: Mutthuswamy Dikshithar (Krithis)
Is Sri Sukra Bhagavantham an authentic Dikshitar krithi?
There seems to be no ending rhymes in the charanam like there usually is
There seems to be no ending rhymes in the charanam like there usually is
-
- Posts: 2342
- Joined: 16 Dec 2008, 09:10
Re: Mutthuswamy Dikshithar (Krithis)
http://www.carnaticcorner.com/articles/ ... ble_MD.htm
It is a surprise to find srI krishnam (updated: forget srI krishnam, already discussed in earlier posts) and harihara putram in that - both relatively popular ones! What's the learned members opinion on that?
It is a surprise to find srI krishnam (updated: forget srI krishnam, already discussed in earlier posts) and harihara putram in that - both relatively popular ones! What's the learned members opinion on that?
-
- Posts: 539
- Joined: 24 Feb 2014, 21:28
Re: Mutthuswamy Dikshithar (Krithis)
Rupamu juchi is notated by Subbarama Deekshithar and hence becomes authentic.
-
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
Dheekshithar is known to have composed many ragamalikas himself. May I have some information about them? and if possible, links to renderings?
-
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
in continuation of @366-> stumbled upon this part in a blog post..."
http://sureshs65music.blogspot.in/2009/ ... w=flipcard
Dikshitar fans will bash me up if I do not mention the ragamalikas that he has composed. And how can I forget to mention them, when one of them, 'Sree Vishwanatham' happens to be my most favourite amongst all ragamalikas. We were very lucky to once hear SRJ talk in detail about this ragamalika.
(Of the trinity only Dikshitar has composed ragamalikas. He has composed 5 ragamalikas).
'Sree Vishvanatham' is a chaturdasa ragamalika. As the name indicates it has 14 ragas in it. The intensity and seriousness of this composition has to be heard to be believed. Everything that we love about Dikshitar is present in this composition. Every line reveals his great scholarship and this is a text book lesson on how to compose a ragamalika without trivializing it. Dikshitar does every trick that singers nowadays adopt, like coming back in the descending raga sequence but nowhere is this just a trick. It is done majestically, with all earnestness and with such astounding beauty. If you do not yet possess this grand krithi and
if you happen to chance upon a CD / tape of MLV singing this krithi, don't hesitate. Just pick it up. This will be a treasure in your CD chest. MLV does great justice to this monumental composition and never have I heard it only once when I have put on the tape. It has to be repeated atleast a few time before I can stop. Such is my addiction to this composition. In case you haven't heard this krithi, time to click on the youtube video below to listen to MLV's rendition.
==============================================================================================
MLV rendering ...(Sri Vishwanaatham Bhajeham)
upload by Champa Vaitheeswaran
https://youtu.be/1-1dgKw3Ijs
The full lyrics have been given there as a comment by
Varagooran Narayanan
It would be very nice to have the ragam name for each.
http://sureshs65music.blogspot.in/2009/ ... w=flipcard
Dikshitar fans will bash me up if I do not mention the ragamalikas that he has composed. And how can I forget to mention them, when one of them, 'Sree Vishwanatham' happens to be my most favourite amongst all ragamalikas. We were very lucky to once hear SRJ talk in detail about this ragamalika.
(Of the trinity only Dikshitar has composed ragamalikas. He has composed 5 ragamalikas).
'Sree Vishvanatham' is a chaturdasa ragamalika. As the name indicates it has 14 ragas in it. The intensity and seriousness of this composition has to be heard to be believed. Everything that we love about Dikshitar is present in this composition. Every line reveals his great scholarship and this is a text book lesson on how to compose a ragamalika without trivializing it. Dikshitar does every trick that singers nowadays adopt, like coming back in the descending raga sequence but nowhere is this just a trick. It is done majestically, with all earnestness and with such astounding beauty. If you do not yet possess this grand krithi and
if you happen to chance upon a CD / tape of MLV singing this krithi, don't hesitate. Just pick it up. This will be a treasure in your CD chest. MLV does great justice to this monumental composition and never have I heard it only once when I have put on the tape. It has to be repeated atleast a few time before I can stop. Such is my addiction to this composition. In case you haven't heard this krithi, time to click on the youtube video below to listen to MLV's rendition.
==============================================================================================
MLV rendering ...(Sri Vishwanaatham Bhajeham)
upload by Champa Vaitheeswaran
https://youtu.be/1-1dgKw3Ijs
The full lyrics have been given there as a comment by
Varagooran Narayanan
It would be very nice to have the ragam name for each.
-
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
The Chaturdasa Ragamalika, 'Sri Viswanatham' is a string of 14ragas.
https://sites.google.com/site/ncvasanth ... hikshithar
The above information is from a Shadhganga paper on the krithis of Muthuswamy Dheekshithar,The composition is in praise of Lord Viswanatha.
The pallavi comprises of, two ragas, Sri and Arabhi.
The Anupallavi takes four ragas namely Gauri, Nata, Gaula and Mohana.
The charana is composed in
eight ragas, Sama, Lalita, Bhairavam, Saranga, Sankarabharanam,
Kamboji, Devakriya and Bhupala.\
At the end of the composition there is
a combination of all the 14 ragas in the reverse order from Bhupala to Sri raga.
The way Muthuswami Dikshitar has incorporated the raga mudra into the sahitya is simply amazing.
https://sites.google.com/site/ncvasanth ... hikshithar
-
- Posts: 832
- Joined: 19 Apr 2018, 18:16
Re: Mutthuswamy Dikshithar (Krithis)
Dikshitar Kriti - Svetaranyesvaram - Raga Arabhi
is there any vocal recording of this song ?
i could only find the vina recital by smt e gayathri which is available on YouTube
please do suggest.
is there any vocal recording of this song ?
i could only find the vina recital by smt e gayathri which is available on YouTube
please do suggest.
-
- Posts: 1
- Joined: 09 Jan 2017, 12:28
Re: Mutthuswamy Dikshithar (Krithis)
Greetings!
I'm looking for vocal recording of the kriti- Sri Shoolinim - Raga Shaila Desakshi
Even the Sangeetapriya page is not functioning for downloading this composition.
Please do share the audio.
I'm looking for vocal recording of the kriti- Sri Shoolinim - Raga Shaila Desakshi
Even the Sangeetapriya page is not functioning for downloading this composition.
Please do share the audio.
-
- Posts: 2477
- Joined: 13 Jan 2013, 16:10
Re: Mutthuswamy Dikshithar (Krithis)
In the light of the recent threads on rAgAs, this thread really needs a bump up. Consider that 230 kritis of Dikshitar are available from the two books SSP and DKP. While guruguha.org has a list of 484 of them, karnatik.com mentions 520 even - and I do not know how much more that would go up if one can identify all the multiple versions of many kritis. Quite a lot of them are in modern tunes and versions of rAgAs too - and many even describe places that Dikshitar never actually visited.
We have seen what happened to the kritis of Thyagaraja as well. Many of them are changed, but most are usually his only.
Considering all this, I really have to swallow a bitter pill and consider that half of the kritis attributed to Dikshitar are really composed by others with his name and mudra - it is actually far more likely than you think considering the caliber of many musicians. To truly find out, one would have to do some analytics work - i.e. trace each song back to the musicians who were first known to have sung them, and see where the trail goes cold. Similar stories exist in other paramparas as well.
I am now inclined to think that many musicians used the trinity mudras to popularize their own (rather radically different and modernized)compositions in the name of over zealous bhakti or trying to make a show of "humility" in keeping their own names buried - but this was (and is) actually quite an unethical practice, especially when the original music was still extant.
Our musicians and many rasikas have always delighted in using the word "tradition", but with all due respect to their own genius, we now know what they've really been doing.
We have seen what happened to the kritis of Thyagaraja as well. Many of them are changed, but most are usually his only.
Considering all this, I really have to swallow a bitter pill and consider that half of the kritis attributed to Dikshitar are really composed by others with his name and mudra - it is actually far more likely than you think considering the caliber of many musicians. To truly find out, one would have to do some analytics work - i.e. trace each song back to the musicians who were first known to have sung them, and see where the trail goes cold. Similar stories exist in other paramparas as well.
I am now inclined to think that many musicians used the trinity mudras to popularize their own (rather radically different and modernized)compositions in the name of over zealous bhakti or trying to make a show of "humility" in keeping their own names buried - but this was (and is) actually quite an unethical practice, especially when the original music was still extant.
Our musicians and many rasikas have always delighted in using the word "tradition", but with all due respect to their own genius, we now know what they've really been doing.
-
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Mutthuswamy Dikshithar (Krithis)
@SrinathK
I would like to share two weblinks on the life and creations of Muthuswami Dikshitar.
https://sites.google.com/site/ncvasanth ... hikshithar ( from Shodhganga)
-------------------------
https://sites.google.com/site/ncvasanth ... araos-blog
-------------------
and a nice one ( can be sorted on the basis of raagam)
at
http://www.sangeethapriya.org/tributes/ ... ithis.html
I would like to share two weblinks on the life and creations of Muthuswami Dikshitar.
https://sites.google.com/site/ncvasanth ... hikshithar ( from Shodhganga)
-------------------------
https://sites.google.com/site/ncvasanth ... araos-blog
-------------------
and a nice one ( can be sorted on the basis of raagam)
at
http://www.sangeethapriya.org/tributes/ ... ithis.html
-
- Posts: 9936
- Joined: 03 Feb 2010, 08:04
Re: Mutthuswamy Dikshithar (Krithis)
Thank you Nandini Ramani . In Oct 04th ,2019 Friday Review of The HIndu , navarathri focus on composers was absolutely fantastic. This writeup is absolutely fantastic , i just intensely remembered my trip to Tiruvarur.
https://www.thehindu.com/entertainment/ ... 584416.ece
https://www.thehindu.com/entertainment/ ... 584416.ece
-
- Posts: 3427
- Joined: 11 Oct 2015, 23:31