Mutthuswamy Dikshithar (Krithis)

Carnatic composers (other than performing vidwans)
rajeshnat
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#326 Re: Mutthuswamy Dikshithar (Krithis)

Post by rajeshnat » 24 Oct 2010, 12:52

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
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satyabalu
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#327 Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu » 06 Nov 2010, 18:11

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)
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satyabalu
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#328 Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu » 06 Nov 2010, 21:54

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

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#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!
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nag45
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#329 Re: Mutthuswamy Dikshithar (Krithis)

Post by nag45 » 13 Nov 2010, 16:24

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

Thanks
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vgovindan
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#330 Re: Mutthuswamy Dikshithar (Krithis)

Post by vgovindan » 13 Nov 2010, 18:26

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.
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keerthi
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#331 Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi » 13 Nov 2010, 20:00

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.
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N.R.Patanjali
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#332 Re: Mutthuswamy Dikshithar (Krithis)

Post by N.R.Patanjali » 06 Dec 2010, 21:17

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.
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venkatamakhi
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#333 The richness of Dikshitar's compositions

Post by venkatamakhi » 25 Feb 2011, 09:28

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
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vgovindan
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#334 Re: Mutthuswamy Dikshithar (Krithis)

Post by vgovindan » 25 Feb 2011, 10:34

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.
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cmlover
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#335 Re: Mutthuswamy Dikshithar (Krithis)

Post by cmlover » 25 Feb 2011, 22:53

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...?
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venkatamakhi
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#336 Re: Mutthuswamy Dikshithar (Krithis)

Post by venkatamakhi » 26 Feb 2011, 19:23

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.
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satyabalu
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#337 Re: Mutthuswamy Dikshithar (Krithis)

Post by satyabalu » 06 Mar 2011, 11:15

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?
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bhakthim dehi
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#338 Re: Mutthuswamy Dikshithar (Krithis)

Post by bhakthim dehi » 03 Mar 2014, 16:32

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.
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Lakshman
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#339 Re: Mutthuswamy Dikshithar (Krithis)

Post by Lakshman » 04 Mar 2014, 00:08

The link does not work.
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harimau
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#340 Re:

Post by harimau » 09 Oct 2014, 10:08

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.
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harimau
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#341 Re:

Post by harimau » 09 Oct 2014, 10:23

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.
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keerthi
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#342 Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi » 09 Oct 2014, 15:38

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.
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rshankar
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#343 Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar » 09 Oct 2014, 18:56

Keerthi - Can you confirm something else for me? Is the name of the dEvi in tiruvaNNAmalai apitakucAmbA or apItakucAmbA?
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Rsachi
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#344 Re: Mutthuswamy Dikshithar (Krithis)

Post by Rsachi » 09 Oct 2014, 19:22

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/
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rshankar
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#345 Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar » 09 Oct 2014, 22:45

The meaning of the name is clearer from the tamizh name for the deity - uNNA mulai
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keerthi
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#346 Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi » 13 Oct 2014, 11:13

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...
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rshankar
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#347 Re: Mutthuswamy Dikshithar (Krithis)

Post by rshankar » 13 Oct 2014, 20:20

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!
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keerthi
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#348 Re: Mutthuswamy Dikshithar (Krithis)

Post by keerthi » 15 Oct 2014, 11:44

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.
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venkatakailasam
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#349 Re: Mutthuswamy Dikshithar (Krithis)

Post by venkatakailasam » 20 Oct 2014, 10:16

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
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narayara000
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#350 Re: Mutthuswamy Dikshithar (Krithis)

Post by narayara000 » 13 Jul 2015, 08:06

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.
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