99th Annual Conference of The Music Academy – Day 14

The first lecture of Day 14 was presented by Sangita Kalanidhi S. Sowmya on “Bhashanga Ragas as handled by Muthuswami Dikshitar”.

What are Bhashanga ragas? My understanding is that in the current raga classification system, we have Melakarta ragas or parent scales, and Janya ragas or derivatives. In general, Janya ragas use a subset of the notes of the parent scale and are referred to as Upanga ragas. However, when a note that does not belong to the parent scale appears in the Janya raga, it is classified as a Bhashanga raga.

One has to be cautious with the use of the word derivative. It merely indicates the position of a raga within the classification framework. There are many Janya ragas that predate the Melakarta system and are older than the parent ragas under which they are grouped. Therefore, the term does not imply that the Janya ragas evolved from the Melakarta ragas. This precedence could be one reason for the presence of what appears to be a foreign note. Another possibility is the incorporation of ragas from other musical systems, such as Hindustani music. This is my understanding, and it may not be complete.

The science student in Sowmya came to the forefront during her explanation of the terms Grama and Bhasha and their historical evolution. Her lecture felt like time travel as she took us from the fifth century to the present day. Her explanation made it clear that my initial description was a very basic interpretation of the term Bhashanga, and that the concept is far more nuanced. She classified Bhashanga ragas into three groups based on how such changes might have occurred. Throughout this discussion, the Sanskrit scholar in her was clearly on display.

When she moved to musical illustrations, the veena artist in Sowmya came to the fore. She played several examples to highlight the subtle nuances of these ragas. This was followed by a lively question and answer session. One question asked her to define a Bhashanga raga in lay terms. Her response neatly summarised the lecture and went far beyond what I had stated at the beginning.

In his summing up, Shriram praised Sowmya’s multidimensional abilities and added his own perspective to the topic. The moment when the two of them firmly held their ground on the interpretation of a particular phrase in the Brindavanasaranga composition “Soundararajam” was striking. It reflected their depth of knowledge, clarity of understanding, camaraderie, conviction, loyalty to their respective traditions, and mutual respect.

The second lecture of the day was by this year’s Nritya Kalanidhi, Vidushi Urmila Satyanarayanan. She spoke on “Setting Muthuswami Dikshitar Kritis to Dance”, with a focus on the versatility of Dikshitar. It is often said that Dikshitar’s compositions focus more on philosophy, kshetra history, and iconography, and less on overt emotion. I was therefore curious to understand what makes these compositions appealing for dance choreography.

This question was addressed at the outset. Urmila explained that Dikshitar’s compositions lend themselves well to dance. The madhyama kala sections add sparkle, and the stories embedded in the lyrics provide rich material for choreography. She began with a performance to “Sri Maha Ganapatim” in Gaulai, followed by “Anandamruthakarshini” in Amritavarshini.

The English note based nottuswaram “Rama Janardhana” was taken up next. Beginning with the swaras and then transitioning to the lyrics worked especially well for the younger dancers, and the shift to the senior dancers was seamless. Dikshitar had composed “Nee Sati Deivamu” in Sriranjani for the arangetram of his student Kamalam, and this was the next piece performed.

My personal favourite of the demonstration was “Ardhanareeshwaram” in Kumudakriya. The portrayal of the male and female energies was striking, both in the dance and in the orchestral accompaniment. The jatis were rendered with strength for the male aspect and in a gentler tone for the female aspect, adding a distinct dimension to the presentation. Shriram also highlighted this point in his summation.

The final piece was “Suryamurthe” in Sourashtram. Urmila mentioned the challenge of choreographing a composition set to Dhruva tala. It was a joy to see Dikshitar’s lyrics come alive through movement. I enjoyed the performance of the orchestra as much as that of the dancers themselves. The young performers were particularly delightful.

All in all, it was a very satisfying morning.

99th Annual Conference of The Music Academy – Day 13

We have had twelve days of lectures on various aspects of Muthuswami Dikshitar’s life and art. All of them felt like appetizers leading up to the main course that was served today. The lecture on Day 13 was by Sangita Kalanidhi designate Vidwan R.K. Shriram Kumar on “The Kamalamba Navavarana Kritis of Muthuswami Dikshitar”.

If this has not been evident so far, I am deeply drawn to lecture demonstrations in Karnatik music. It does not matter that much of what is discussed is beyond my grasp. Each lecture leaves me with a slightly better understanding than before, and I therefore make it a point to listen to as many as I can. In my experience, there is no one today more knowledgeable in this field than Shriram. He has a remarkable ability to present even the most complex ideas in a simple manner. He weaves a narrative that brings together emotion, philosophy, lyrical beauty, and musical structure in a deeply evocative way. His lectures are never about showcasing his prowess. They come straight from the heart and are free of unnecessary embellishments. I leave every one of his lectures in awe, both of what he speaks and of Shriram himself.

Shriram was, quite understandably, emotional today. At the very beginning, he thanked everyone who had helped him along his musical journey and dedicated the Sangita Kalanidhi award to his musical and spiritual gurus. He recalled that he had once stood on this very stage accompanying his guru, Sangita Kalanidhi D.K. Jayaraman. He also mentioned that Sri J. Vaidyanathan, who played the mridangam today, had shared the stage with him on that occasion as well. The simplicity and humility that Shriram displayed during this speech were striking.

I have heard Shriram speak about the Kamalamba Navavarana kritis many times before. Each time, there is something new to learn and a deeper understanding of what was said earlier. That said, these compositions are highly esoteric and steeped in mysticism. The philosophies and the tantric and mantric elements embedded in them are complex. It would be unfair for me to attempt a detailed exposition. What follows is only an outline of what Shriram spoke about, meant to offer a glimpse to those who may not have had the opportunity to hear this lecture. I may have missed important points or misunderstood certain aspects, and I strongly urge readers to listen to the lecture directly to hear it from the expert himself.

Shriram began by declaring the Kamalamba Navavarana kritis to be the magnum opus of Dikshitar’s oeuvre. Dikshitar was a Srividya upasaka who worshipped the supreme in a feminine form, a tradition that has existed across cultures for centuries. Shriram explained that the divine is essentially an abstract, formless entity, and that this abstraction is brought into form in two ways. The first is a visual representation, the yantra, which remains abstract and is created using geometric patterns known as chakras. The second is the auditory form, which is the mantra.

Thanks to my son, I have developed an interest in astronomy. When Shriram spoke about the Sri Chakra as a representation of Shiva and Shakti, and about the single dot at its centre from which all creation emerges, I was reminded of the concept of gravitational singularity, where space and time are compressed into a single point. I may be entirely off track here, but the parallel intrigued me and left me eager to read more about both these subjects.

What does Navavarana mean? In tradition, certain numbers are associated with specific manifestations of the divine. The number five is associated with Shiva. He is said to have five faces, his mantra is the Panchakshara, and there are the Panchabhuta kshetras associated with him. Shakti is associated with the number three. She is therefore called Tripura, and multiples of three also carry significance. The number nine holds a special place in Devi worship. It is considered all encompassing, much like how adding the digits of any multiple of nine always results in nine.

The worship of the Goddess through the Sri Chakra yantra is known as Navavarana pooja. Avarna means a veil. This form of worship seeks to remove nine veils that surround the soul, one at a time, guiding the practitioner inward until they become one with the Goddess herself. The Sri Chakra consists of nine sub chakras that symbolise this inward journey. Dikshitar composed the Navavarana kritis to describe this mode of worship, incorporating within them everything required to understand it. These compositions are on Kamalamba of Tiruvarur.

At this point, Shriram raised an interesting question. The form worshipped in this tradition is Lalita, whose attributes he then described. While the deity in most temples is essentially a manifestation of this form, the temple that most closely fits this description is that of Kamakshi in Kanchipuram, on whom Dikshitar has composed many other kritis. Yet, this Navavarana set is not dedicated to Kamakshi but to Kamalamba. Shriram explained the fascinating theory behind this choice.

With this context established, Shriram went on to elucidate the music, lyrics, and philosophical underpinnings of each Navavarana composition, beginning with the Dhyana shloka in Todi. Like the Guruguha Vibhakti kritis, the Navavarana kritis are also set across different vibhaktis.

The first kriti is set in Ananda Bhairavi. Instead of beginning with Sri Kamalamba, Dikshitar begins with Kamalamba, in keeping with the Kaadi parampara of Sri Vidya upasakas to which he belonged, in which the syllable Ka has great significance. The second kriti is in Kalyani and is the only one in the set that includes a chittasvara. Dikshitar composed it as a palindromic sequence to symbolise the waxing and waning of the moon in equal measure. The third kriti is set in Shankarabharanam, an apt choice given the prominence of Shiva in this chakra.

The fourth avarana is represented by fourteen triangles in the chakra and signifies Parameshwara. Dikshitar reflects this numerology by composing Sri Vishwanatham Bhajegam as a ragamalika in fourteen ragas and setting it to Ata tala, which has fourteen counts. The kriti for this avarana in this set is Kamalambikayai in Kambhoji.

The fifth avarana is symbolised by ten triangles and represents the role of the guru. As in Sri Nathadi Guruguho, Dikshitar invokes nada to establish this connection. This kriti is set in Bhairavi and uses a tala of ten beats. The sixth avarana is denoted by the ten inner triangles. The kriti Kamalambikayastava is set in Punnagavarali, a raga typically associated with shorter compositions. Dikshitar, however, has given us not one but two expansive and weighty kritis in this raga, one of which is part of the Navavarana set. 

The seventh avarana is represented by eight triangles and is associated with relief from all afflictions, including ignorance. Set in Sahana, this kriti begins with Sri Kamalambikayam. The innermost triangle corresponds to the eighth avarana, where the Goddess proclaims liberation, resonant like the sound of a bell. Dikshitar therefore sets this kriti in the raga Ghanta. In the final avarana, the practitioner becomes one with the Goddess, and Dikshitar employs all the vibhaktis. The raga chosen for this culminating kriti is Ahiri. Shriram spoke at length about the many layers embedded in this composition.

The choice of ragas, the structure of each kriti, the prosody, the placement of lyrical phrases, the seamless unison of musical and poetic beauty, the philosophical depth, and the entire Navavarana pooja process were all explained with extraordinary clarity. This lecture truly demands listening, and I have therefore limited myself to only a few highlights.

In her summing up, Sangita Kalanidhi Bombay Jayashri thanked Shriram for gently leading us from the outermost layer of the Sri Chakra to its centre, removing one veil at a time. She spoke on behalf of everyone present who had experienced this magnificent lecture. She thanked the performers on stage by pointing out that nine voices had sung as one, a detail I had not noticed until she mentioned it. Just as in Dikshitar’s compositions, Shriram too had many subtle layers hidden within the lecture, a realization that dawned on me only then.

Vidwan Ramakrishnan Murthy and Vidushis Amritha Murali, Aishwarya, Bharathi Ramasubban, Arathi, and Archana sang all the kritis beautifully alongside Shriram, with Niranjan and Nanditha providing support on the tambura. Vidwans J. Vaidyanathan and Sandeep Ramachandran accompanied them and blended seamlessly with the voices. Vidushi Aishwarya had also created paintings depicting each of the nine avaranas, which were displayed appropriately as each kriti was rendered.

The program concluded with the mangalam, Sri Kamalambike, in Sri raga, followed by a well deserved standing ovation. I felt both blissful and blessed to have listened to this lecture. Thank you, Shriram, and congratulations once again.

99th Annual Conference of The Music Academy – Day 12

If Day 11 featured three lectures, Day 12 had just one. Dr. Meenakshi (Sumathi) Krishnan presented a lecture titled “The Guruguha Vibhakti Kritis of Muthuswami Dikshitar”. She was accompanied by a team of students from the Advanced School of Carnatic Music: Ms. Snigdha Desiraju, Ms. Ragasudha, Ms. Nandhika, Sri Bharat Narayan, and Sri Sivaramakrishnan.

Dr. Meenakshi began with a brief overview of the key events in the life of Muthuswami Dikshitar. To introduce the topic of the day, she spoke about Dikshitar’s visit to Tiruttani and why it was considered an ideal place for contemplation. Dikshitar is said to have meditated there for a mandala, forty eight days, after which the Lord himself appeared before him and placed a sugar candy in his mouth, marking the beginning of his musical journey. Dr. Meenakshi drew parallels between this episode and similar stories associated with Kalamegha Pulavar, Muka Kavi, and Kalidasa, whose journeys are also said to have begun in comparable ways. I would have added Thirugnanasambandar to this list, as his poetic journey began with Goddess Parvati herself feeding him milk. Dr. Meenakshi then explained the significance of Dikshitar’s mudra, Guruguha, defining it as the unison of the teacher and the Godhead.

What is Vibhakti? In grammar, there is a concept known as declension. It refers to the variation of a noun, pronoun, or adjective to indicate grammatical case, number, and gender. I am more familiar with Tamil grammar, so I digress briefly before returning to the lecture.

விபக்தி என்பதைத் தமிழில் வேற்றுமை எனச் சொல்வார்கள். இந்த வேற்றுமையை உணர்த்தும் சேர்க்கைகளின் பெயர் வேற்றுமை உருபுகள். வடமொழியில் எட்டு வேற்றுமை உருபுகள் இருப்பதாகப் புரிந்து கொள்கிறேன். தமிழிலும் எட்டு வேற்றுமைகள் உண்டு. முதல் வேற்றுமைக்கும் கடைசி வேற்றுமைக்கும் உருபுகள் கிடையாது. மற்ற ஆறு வேற்றுமை உருபுகள் ஐ, ஆல், கு, இன், அது, கண் ஆகியவை. உதாரணமாக கந்தன் என்ற பெயரை எடுத்துக் கொண்டோமானால்,

• கந்தன் வந்தான் (பெயர் வேற்றுமை)

• கந்தனைக் கண்டேன் (ஐ) 

• கந்தனால் பிழைத்தேன் (ஆல்)

• கந்தனுக்கு அரோகரா (கு)

• கந்தனின் வேல் (இன்)

• கந்தனது அருள் (அது)

• கந்தன்கண் மனம் சென்றது (கண்)

• கந்தா வா வா (விளி வேற்றுமை)

இந்த எட்டு வேற்றுமைகளோடு ஒருவன், ஒருத்தி, பலர், ஒன்று, பல என்ற ஐம்பால்களைச் சேர்த்தோமானால் நாற்பது வேற்றுமைகள் வரும். இப்படி வேற்றுமை உருபுகளைக் கொண்டு வடமொழியில் பாடல்களைப் புனைவதை விபக்தி க்ருதிகள் என்கிறார்கள்.

Dr. Meenakshi then spoke about the possible influences that may have inspired Dikshitar to compose the Vibhakti kritis. In addition to his mudra Guruguha and the use of raga mudras, these compositions include references to his spiritual guru and repeated allusions to light in its many forms, symbolising knowledge. That these compositions form a clearly defined group is explicitly stated in the Sangita Sampradaya Pradarshini. Dr. Meenakshi also drew upon other sources in preparing this lecture.

She then moved on to the first Vibhakti kriti, Sri Nathadi Guruguho, set in Mayamalavagowlai, and shared several interesting details about it. One point she highlighted was that the word Jayati traditionally appears in pairs. Jayati Jayati Bharata Mata was cited as an example. This immediately reminded me of the Indian national anthem, which does one better and ends with Jaya He Jaya He Jaya Jaya Jaya Jaya He.

After elaborating on the first Vibhakti kriti, Dr. Meenakshi proceeded to the second, Manasa Guruguha Rupam, set in Ananda Bhairavi. It is said that there are three paths in Sri Vidya Upasana: Dakshinamurti, Hayagriva, and Ananda Bhairava. Dikshitar is believed to have followed the last of these, making the choice of Ananda Bhairavi particularly apt. The third Vibhakti kriti is Sri Guruna Palitosmi, set in the raga Padi. Since Padi is a janya of Mayamalavagowlai, which was used earlier in the set, the care taken to differentiate the two ragas was explained clearly, along with the significance of the terms used in the lyrics.

The fourth Vibhakti kriti, Guruguhaya Bhaktanugrahaya, is set in Sama. An interesting feature of this composition is that the opening line of the pallavi and anupallavi are identical. Dr. Meenakshi offered her interpretation of why this might be so and highlighted several lyrical nuances. The fifth composition in the series is Guruguhadanyam, set in the rare raga Balahamsa. The lyrics are rich with mystical references encompassing agama, yoga, and tattvas, in keeping with the rarity of the raga itself.

The sixth Vibhakti kriti, Sri Guruguhasya Dasoham, is set in Purvi. This raga is classified as a bhashanga, desiya, and rakti raga. Dikshitar begins by describing himself as a servant of Guruguha but later speaks of himself as the embodiment of consciousness, possibly reflecting his own spiritual evolution.

The seventh composition, Guruguhaswamini, is set in another rare raga, Bhanumati, and is the only vivadi raga used in this group. There is an indirect reference to Tiruttani through the mention of Vijayavalli and Devasena as the consorts. The final composition in the set is Sri Guruguhamurte, set in the raga Udayaravichandrika. The first point discussed here was the distinction between Udayaravichandrika and Suddha Dhanyasi. This topic has been debated earlier at the Music Academy, where it was concluded that the two are distinct ragas. The Sangita Sampradaya Pradarshini also clearly maintains this distinction. This composition focuses on the role of the guru in relation to the sishya.

The observation that Dikshitar began the series with Jayati Jayati and concluded it with Jaya Jaya was a graceful way to close the lecture. Special mention must be made of the students on stage, who performed these demanding compositions admirably. Shriram, as always, added several insightful points in his summing up, enriching the discussion further.

99th Annual Conference of The Music Academy – Day 11

Sangita Kala Acharya Suguna Varadachari presented the first lecture of the day on “Scope for Manodharma in Muthuswami Dikshitar Kritis”. She was accompanied by Dr. Aishwarya Shankar, with Vidwan K. Arun Prakash on the mridangam.

The phraseology embedded in compositions, once imbibed and internalized, forms the foundation of the manodharma aspect of music. The very definition of a ragam can be understood only through learning multiple compositions in that ragam and repeatedly singing them. Mere notation cannot convey the subtleties and intricacies of a raga. How Dikshitar’s compositions help a performer deepen and expand their manodharma was the core theme of Suguna Mami’s lecture.

Shankarabharanam shone in all its grandeur from the very first phrases she sang. Sadasivam Upasmahe was chosen to illustrate the unique phrases employed by Dikshitar and how these phrases can be used in raga alapana to lend Shankarabharanam a distinct colour. This made the session not merely a lecture, but a true lecture demonstration.

At one point, Mami used the phrase “ஊறி வரணும்”, meaning that the phrase must seep out naturally from within, rather than being consciously planned and produced. The imagery that phrase evoked, at least for me, captured the very soul of manodharma music.

A phrase classically associated with one ragam can sometimes be seamlessly absorbed into another. A phrase from Begada, when sung independently, exuded unmistakable Begada bhava, yet the same phrase, when placed within the context of Shankarabharanam, shed its Begada identity completely. It felt like witnessing a magician deftly altering perception in plain sight. Other aspects of manodharma such as neraval and swara singing were also explored, with different approaches explained through apt examples.

Thodi was the next ragam taken up for exploration. From the very first phrase, Thodi announced itself unmistakably. It was fascinating to hear how the same note, sung with and without gamakam, still retained the unmistakable identity of Thodi. Dikshitar’s fondness for wordplay is well known. His use of increasing and decreasing syllabic patterns, known as srotovaha and gopucha yati, appears in several compositions and can serve as inspiration for neraval singing as well. The example Mami rendered was truly delightful.

She concluded by speaking about the use of Dikshitar compositions in pallavi singing. Hearing his first composition, Sri Nathadi Guruguho, rendered in different talams was particularly interesting. That his compositions can also inspire thanam singing only reinforces the depth and brilliance of his musical vision.

Even in concerts, Arun Prakash plays with a clear intent to embellish and highlight unique and beautiful phrases sung by the vocalist, something he had spoken about in his own lecture earlier. This lecture demonstration was therefore a feast for him. His playing visibly responded to and enhanced the phrases sung by Suguna Mami and Aishwarya, and it was evident that he enjoyed the experience as much as the audience did.

Like a traditional breakfast spread with soft pongal, crisp vadai, dosai paired with tangy sambar, and sweet pongal to finish, this lecture offered a taste of everything that Carnatic music represents. It was deeply satisfying. I was glad to hear Shriram echo this sentiment in his summary, albeit without my culinary analogy.

In addition to the main lecture, Day 11 featured two shorter presentations. The first was by Vidushi Sumathi Mathiyazhagan on “The Sarva Vadyam tradition at the Tiruvarur temple”, followed by a lecture by Dr. K. Dhinesh Kumar on “The Tiruvarur Nagaswaram tradition as defined by Ramaswami Dikshitar”. The two lectures complemented each other beautifully.

Vidushi Sumathi Mathiyazhagan is a school headmistress in Tiruvarur and is preserving a temple tradition that has historically been carried forward largely by men. She comes from a family believed to have descended from Devalokam along with Thyagesar when he manifested on earth. Her ancestor Thambiappan was a disciple of Dikshitar, and it was to cure Thambiappan’s stomach ailment that Dikshitar composed Brihaspathe, an episode that eventually led to the creation of the Vara Kritis.

The first instrument she spoke about was the Kudamuzha, a five-faced drum also known as the Pancha Mukha Vadyam. The five faces are said to represent the five faces of Lord Shiva. Shaped like a vessel, the lower portion is made of bronze and the top is covered with deer skin. This instrument is typically played during the evening pooja, which Dr. Madhusudhanan had earlier described as the most important ritual of the day.

The second instrument she demonstrated was the Suddha Maddalam, which accompanies the famed Ajapa Natanam. She explained in detail the significance of the instrument, the specific occasions when it is played, and the stories associated with it. Her account of personal dedication, lived experience, and emotional attachment to the temple and its traditions deeply moved the audience.

Dr. K. Dhinesh Kumar began his lecture by citing references from the Sangita Sampradaya Pradarshini that describe how Ramaswami Dikshitar prescribed what should be played by Nagaswaram vidwans at the Tiruvarur temple and on which occasions. The repertoire includes over two hundred compositions, among them more than fifty padams. It is believed that some of these were tuned by Balaswami Dikshitar.

He listed the various musical forms that form part of this tradition and the composers whose works are included. He asserted that the form known as Mallari was originally created for the Tiruvarur temple before spreading elsewhere. He also described in detail the ragams prescribed for different days of the twenty two day Tiruvizha celebrations.

Dr. Dhinesh Kumar illustrated Rakthi, a form developed specifically for Nagaswaram performance, and sang the composition associated with Ajapa Natanam. He spoke about three types of Nagaswarams used in the temple, including one made of granite, another of ivory, and the Bari Nagaswaram. He is currently involved in recreating the granite Nagaswaram for temple use and played a prototype as part of his demonstration.

The contribution of Lalitha Ram in commissioning the statue of Dikshitar that adorned the stage throughout the lecture demonstrations was acknowledged, as was his role in introducing Dr. Dhinesh Kumar to the Academy. He also spoke about the importance of providing public platforms to such knowledgeable practitioners.

In his concluding remarks, Shriram referred to Dikshitar’s own mention of the Nagaswaram in his compositions and thanked Dr. Dhinesh Kumar for his research, lecture, and performance.

99th Annual Conference of The Music Academy - Day 10

 

The first lecture of the day was by Vidwan Ravi Rajagopalan on “The chronology of Muthuswami Dikshitar’s biographies.”

Hagiography and blatant falsehoods often pass into history. I am currently reading a book titled Fake History, which takes ten stories widely accepted as historical fact today and carefully dismantles the myths around them. These are stories from the western world, where record keeping has generally been more rigorous than in India. While we have stone inscriptions from a thousand years ago that give us precise details of donors involved in the construction of the Big Temple in Thanjavur, our more recent history is often lost, distorted, or repainted without hesitation. The tendency to canonize people we admire does little to help the preservation of historical truth.

The question of who Muthuswami Dikshitar really was clearly requires serious reexamination. Layers of dust need to be cleared, cobwebs removed, and coats of paint peeled away before we can begin to glimpse the person behind the stories.

Unfortunately, we are not even certain of his year of birth, even as we observe 2025 as his 250th birth anniversary. In an earlier article, I had mentioned his birth year as 1776, based on some reading I had done. I later corrected this to 1775, which is widely believed to be the year of his birth. Today’s lecture brought this question back into focus. Was he born in 1775 or in March 1776? The simple and honest answer is that we do not know.

Was he a performing musician? Did he play the veena? Was he showered with gold? Did he have a daughter? Did he actually travel to all the places he sang about? Did the royal elephant of Ettayapuram run amok before his death? Did he compose all the works attributed to him today? The answer to all these questions, and many more, is the same. We do not know.

What struck me deeply was that even arriving at this admission of uncertainty requires enormous scholarly effort. That was precisely what Ravi Rajagopalan brought to us through this lecture. He has painstakingly compiled available writings on Dikshitar, attempted to collate and correlate the information they contain, flagged possible fabrications, and presented a carefully reasoned account of what we do not know. I mean this entirely as a compliment. The word dispassionate was used by several people to describe the lecture. But I believe it takes immense passion to be that dispassionate. I was glad Shriram acknowledged this in his concluding remarks.

Ravi Rajagopalan sought to present Dikshitar the man, not Dikshitar the myth. Romantic notions such as him spontaneously producing lyrics after eating a sugar candy diminish his genius and deny the rigor of his intellectual and creative labor. Recognizing him as a human being who lived a normal life and yet produced such monumental artistic work only deepens our appreciation of his legacy.

This was stellar work in separating fact from fiction. The post lecture interaction raised several thought provoking questions, and Shriram, as always, handled the summing up with admirable diplomacy. I have deliberately avoided discussing specific details from either the lecture or the discussion here. This is one presentation that deserves to be listened to in full.

For me, it was heartening to see that a space exists where such questions can be examined with scholarly rigor, without inviting hostility. In my experience, this is not always the case in other public forums, particularly on social media. I thank everyone involved for creating and sustaining that safe space, and for participating in an enlightening and necessary discussion.

The second lecture of the day was on “The Veena tradition of Muthuswami Dikshitar” by Vidwan J.T. Jeyaraaj Krishnan and Vidushi Jaysri Jeyaraaj Krishnan. They are also the recipients of the TTK Award for this year. They trace their lineage to Muthuswami Dikshitar through tutelage and have performed widely as a vainika duo.

They played the veena, sang, and explained how Dikshitar’s compositions are particularly well suited to the veena. Dikshitar, of course, referred to himself as a vainika even before identifying himself as a gayaka. The first aspect they highlighted was the use of gamakams that are naturally suited to the veena. To illustrate this, they chose the composition Jambupathe in Yamuna Kalyani, an apt and evocative choice. The handling of gamakams in Purnachandrika once again demonstrated Dikshitar’s brilliance.

The manner in which both of them sang and played emphasized the importance of a deep understanding of sahityam, even for instrumentalists. The Ramakali they presented was strikingly different from the version I am accustomed to hearing and offered a fresh perspective on the raga.

They then demonstrated the difference between Kalyani and Yamuna Kalyani through the usage of kampitam. Subramanyena Rakshitoham was chosen to explain Spuritam. Arabhi, Sahana, Kannada, and Ananda Bhairavi flowed seamlessly from their veenas as they elaborated on various gamakams and plucking techniques.

The lecture concluded with an explanation of Tribinnam, a gamakam unique to the veena, where two or more strings are played simultaneously. The nottuswaram Varasivabalam was used to illustrate this technique.

It was difficult to believe that it was merely a coincidence that this lecture demonstration took place on the same day as the earlier lecture that raised questions about Dikshitar as a vainika. The manner in which these gamakams are embedded in his compositions clearly establishes him as a veena player, as Shriram noted in his concluding remarks.

99th Annual Conference of The Music Academy - Day 08 and 09

 

The second lecture of Day 08 was by Dr. Nanditha Ravi on “Sanskrit compositions in the Muthuswami Dikshitar disciple lineage.” She began by outlining the family tree of Dikshitar, the Maharajahs of Ettayapuram, and the wide network of his disciples, who hailed from different parts of present day Tamil Nadu and were accomplished in multiple art forms. Kallidaikurichi Vedanta Bhagavathar was among the earliest disciples mentioned. From this larger group, Dr. Nanditha chose to focus on those composers who wrote Sanskrit compositions, consciously following in Dikshitar’s footsteps.

Dr. Nanditha proposed an interesting hypothesis that each of these composers appears to have taken up one particular dimension of Dikshitar’s multifaceted genius as an area of specialization. This observation itself speaks volumes about the sheer breadth of Dikshitar’s creativity. The Muthuswami Dikshitar Shishya Parampara has largely adhered to the path laid down by the composer by restricting themselves to devotional compositions, incorporating mythological narratives and kshetra kritis. They have also retained Dikshitar’s distinctive prasa style and continued to compose in ragams closely associated with him. At the same time, Dr. Nanditha pointed out certain inconsistencies within this lineage. These various aspects were illustrated through her own singing as well as through recordings of other musicians.

The second lecture of Day 09 was presented by Sangita Kala Acharya Rama Ravi on “Pathanthara variations in Muthuswami Dikshitar’s kritis.” She was assisted by her daughter, Dr. Nanditha Ravi, who had delivered the previous lecture. Rama Ravi began by defining what constitutes a parampara or discipleship and how, over time, this evolves into a sampradaya or tradition. This evolution, she emphasized, does not imply stagnation. On the contrary, it is a process of continuous refinement. From this emerges what is termed a bani or style. Even within the same school, there are stylistic differences, whether in lyrics, melodic treatment, tempo, or the usage of particular phrases. This formed the central theme of the lecture.

Examples were provided for each of these categories, clearly demonstrating how the same composition is rendered differently across schools. Multiple kritis were presented, and the variations ranged from quite pronounced to extremely subtle. This was one lecture where listening carefully was essential to fully appreciate the distinctions. It was particularly interesting to note that differences existed even between Brindamma and T. Viswanathan, who belonged to the same family lineage.

In his summing up, Shriram very aptly observed that while these differences across schools are real and significant, the core elements of the compositions are retained by all. He supported this point with examples from his own experience, reinforcing the idea that diversity of interpretation coexists with fidelity to tradition.

99th Annual Conference of The Music Academy - Day 09

Vidwan G. Ravikiran and Dr. Madhusudhanan Kalaichelvan are a formidable duo. Ravi is a dear friend and a senior student of Sangita Kalanidhi T. M. Krishna. He is a brilliant musician, deeply rooted in the Carnatic tradition. As someone passionately invested in the legacy of Dikshitar, he founded Guruguhaamrta, a trust dedicated to increasing awareness of Dikshitar’s rich musical heritage.

Dr. Madhusudhanan Kalaichelvan is a gifted storyteller and a keen student of history and heritage. I have listened to many of his discourses and am an admirer of both his scholarship and his oratory skills. I am currently following his lecture series on Thiruvachakam.

Together, they have partnered to bring to life the details embedded in Dikshitar’s compositions on various temples, with Ravi rendering the compositions and Madhusudhanan providing the historical and cultural commentary. This program, titled Dikshita Kshetra Darshanam, is available on the Guruguhaamrta YouTube channel and is a must watch.

When I saw that this pair was scheduled to present a lecture demonstration, I had marked it as a not to be missed event. They delivered the first lecture of the day titled, “Tiruvarur temple traditions as seen in Muthuswami Dikshitar’s Tyagesa kritis.”

Setting the context, Ravi explained that there are fifteen kirtanams, as per the Sangita Sampradaya Pradarshini, in which Dikshitar makes reference to Tyagaraja. In four of these compositions, there are explicit mentions of temple traditions, which formed the core of this presentation. In addition to these four, they also included one composition that falls outside the SSP.

The first tradition discussed was Ajapa Natanam. Ravi pointed out the references to this dance form in Dikshitar’s compositions, particularly in the Gowlai kriti Tyagaraja Palayashumam, while Madhusudhanan elaborated on the significance of the dance itself. The details he shared about this tradition were truly breathtaking, quite literally.

The second tradition explored was the Yaga Shala Utsavam, which finds mention in Tyagarajena Samrakshitoham set in Salaga Bhairavi.

The third composition, Sri Tyagarajasya Bhakto Bhavami in Rudrapriya, refers to Sayarakshai, Rudra Ganika Natanam, and Suddha Maddala Vadhyam. Although this kriti does not appear in the SSP, it is widely accepted as a composition of Dikshitar. Madhusudhanan explained the continuing importance of the evening worship at the Tiruvarur temple and why Dikshitar’s reference to it is particularly significant. He also spoke about the traditions of the Rudra Kanikas, drawing connections to inscriptions found in the Big Temple at Thanjavur.

Next came the Sri raga composition Tyagaraja Mahadhvajaroha. Ravi highlighted some unique aspects of Dikshitar’s use of this raga, and the song itself was examined in great detail. The insights into temple traditions embedded in the lyrics were brought out beautifully. The three groups of traditions, along with their preceding rituals, are skillfully distributed across the pallavi, anupallavi, and charanam. This kind of thoughtful structuring is quintessentially Dikshitar. 

Madhusudhanan then explained how this kriti served as documentary evidence for a particular temple tradition that had been discontinued and later reinstated. If that tradition continues today, Dikshitar deserves a measure of credit for preserving its details through his composition.

There was so much more to be said that time ran out, and V. Sriram was forced to assume his unfortunate role as timekeeper. I can only hope that a “Not Limited by Time” version of this lecture will materialize someday, allowing these two scholars the space to fully explore the traditions of the Tiruvarur temple, a sentiment Shriram shared in his summing up.

99th Annual Conference of The Music Academy - Day 08

After a few decades of listening to Karnatik music, I am gradually getting better at appreciating nuances while a song is sung or played on the violin. I have shared a few aha moments with people who possess far deeper knowledge than I do. However, when it comes to talam and layam, I am very much like the proverbial deer caught in the headlights. I simply freeze.

I was therefore petrified to listen to Vidwan K. Arun Prakash speak on “Laya intricacies in the compositions of Muthuswami Dikshitar.” I have heard Arun speak about layam on several occasions before, and although I probably do not grasp ninety percent of what he presents, it has always been a pleasure to listen to him. Those prior experiences gave me the courage to listen to this lecture. Arun was accompanied by Vignesh Ishwar and Madan Mohan, in a reversal of roles from the traditional concert format.

I am going to begin at the very end of the lecture demonstration. Vignesh rendered a soulful and deeply emotional “Jambupathe,” and Arun’s accompaniment on the mridangam was outstanding. This composition is an all time favorite of mine. I do not understand the technical details, but I strongly connect with the emotion embedded in the song. We all know that this is one of the Pancha Bhoota kritis, set in Yamuna Kalyani, composed on Lord Shiva at Tiruvanaikkaval, where he manifests as the element of water. The lyrics highlight this element in myriad ways.

To me, the song flows like a river, beginning as a gentle gurgling stream, then moving majestically forward, roaring into a waterfall, and finally meandering into a state of calm. Arun’s mridangam accompaniment brought out the emotion at every stage of this journey, often enhancing the mood through the thoughtful use of silence. At the request of T. M. Krishna, Arun then played an alternate accompaniment version for the same song. While that version sounded sweet, it did not come anywhere close, for me, to the impact of the first rendition.

That piece, along with “Maye Tvam Yahi” in Tarangini, stood out among all the compositions presented during the lecture. For Vignesh and Madan Mohan, this was clearly a test in front of a large and discerning audience. Rendering a charanam from one composition and swarams from another, while navigating contrasting kalapramanams and structural frameworks, is no easy task. They rose to the occasion and performed with great confidence and poise.

Arun explained how Dikshitar began innovating as early as the second line of his very first composition, thereby setting himself on a path marked by creative twists and turns. He emphasized the importance of accompanists having a deep understanding of the composition so that they can internalize Dikshitar’s vision and reflect it faithfully in their performance. Through selected examples, he brought out the various mathematical permutations, combinations, and intelligent innovations employed by Dikshitar. The sheer number of times he uttered, “Oh my God!” showed how much he revels in the brilliance of Dikshitar. 

I have had the opportunity to listen in on conversations among T. M. Krishna, Shriram Kumar, and Arun on a few occasions, and the post presentation interaction felt very much like those informal exchanges, simply unfolding in public view. Shriram Kumar offered a concise lecture demonstration of his own while summing up the session.

If this summary reads like it was written by a fanboy of K. Arun Prakash, that is because it is entirely true.