CHAPTER -1 INTRODUCTION

Transcription

1 SAINT TYAGARAJASWAMI

2 CHAPTER -1 INTRODUCTION

3 CHAPTER-I INTRODUCTION ^ree ^ankaracharya begins his 'Gurustotram' with this Sanskrit $loka, which later stretched out into a widely spread Bhajan. The meaning of this ^loka is "Guru is the creator Brahma, Guru is the preserver Vishnu, Guru is the destroyer Siva, Guru is directly the Supreme Spirit - I offer my salutations to the Guru. Tlie word 'Gum' is a Sanskrit word. Etymologically, its meaning is one who gives light by eradicating darkness of ignorance. 'Guru' comprises of two words 'Gu' means 'darkness' 'Ru' means 'light'. Thus, Guru can be explained as a preceptor who shows us light (Knowledge) and destroys the darkness (ignorance) through his knowledge. To learn anything in life, let it be spiritual or material, one needs the help of a teacher. One should be diligent in locating and identifying a real Guru. Giun leads from ignorance to knowledge, from disharmony to harmony, from hatred to love, from weakness to strength, from want to fullness, from limitation to infinitude, form darkness to light, from imperfection to perfection and from diversity to imity. With the grace of the Guru, it is easy to attain wisdom in life. It is said that ^ri Ramakrishna Paramahamsa touched Swami Vivekananda, and by his grace, Swami Vivekananda had super conscious experience and struggled hard for the rest of his life in

4 order to attain perfection. Another story is that. Guru and God both appeared before Kabirdas. He was confused that to whom he should prostrate. Definitely, he bowed before his Giuu who introduced God to him. The Guru-^ishya tradition is the transmission of teachings from a Guru to ^ishya. In this relationship, dehcate and advanced knowledge is conveyed and received through the devotion, commitment and obedience of the students. Surely, the Guru influences the Sishya immeasurably. "The successful transmission of the music without distortion was possible only through a disciple who could also assimilate not just as much as he could but, as much as the 'Guru' could impart to him. $ri Tyagaraja had at least thirty such disciples. Many of them have generated a proliferation, not only of composers of Merit." ^ A very outstanding Gwra is one who knows the mind of his disciples and very capable disciples are those who know the significance of their Guru - This is very essential in the Guru-^ishya relationship. Tyagaraja and his disciples show such a pure and divine affiliation. Among the trinities, Tyagaraja enjoys the credit of having the maximum number of disciples. The disciples of Tyagaraja took good effort in popularizing Tyagaraja Kriti-s in the pubhc. This might be the reason why Tyagaraja kritis became miostly admired by the Camatic music Rasika-s. ' K.N.Srinivasan-The Contribution of Trimurti to Music' published by Manipaduka (Trust) Pg.no. b7 (2006)

5 Tyagaraja Swami is renowned as a brilliant composer, musician, poet, and teacher and of course a great $rirama Bhaktha. The palm-leaf manuscripts written by his disciples give ttie notation of available songs. The variety in his songs made him imique in the realm of Camatic music. His compositions include Kriti-s, Utsavasampradaya Kirtana-s, Divyanamakirtana-s, Group Kriti-s, Pancharatna Kriti-s, and Opera-s. Cotmtless number of studies has been done on Tyagaraja Kriti-s by various researchers. Tyagaraja Kriti-s are remarkable in their Poetic, Musical and Spiritual Essence. Though a number of studies have been undergone on Tyagaraja Kriti-s, it is a wonder to notice that, this study is endless. It is so wide that we can arrive at only a small fraction of his compositions. The study of one person will be entirely different from the study of another. Such a variety in Raga, Tala and Sahitya is present in his Kriti-s. Tyagaraja was an excellent musician, a gifted composer, a brilliant poet and a good teacher. He has the credit of having 25 direct disciples who were very intelligent and proficient in their own respect. All these disciples were said to have been positively utilized the knowledge of their Guru. The transmission of Tyagaraja Kriti-s without alteration is made possible only through his ^ishya Parampafa. The disciples of Tyagaraja worked for the propagation of their Guru's Kriti-s and they too contributed their own kritis to the treasure house of Camatic music. The names of the direct disciples of Tyagaraja, which is mentioned by Prof.P.Sambamiu'thy (Great

6 Composers II pages ) and K.N.Srinivasan (The Contribution of Trimurti to Music Pages «,t^ are referred. According to Prof.P.Sambamurfhy, the direct disciples of Tyagaraja are. Disciples who became Composers: 1. VinaKuppier 2. Subbaraya $astri 3. Manambuchavadi Venkatasubbier 4. Walajapet Venkataramana Bhagavatar 5. Walajapet KrishnaSwami Bhagavatar Disciples who became Performers: 6. Umayalpiuram Krishna Bhagavatar 7. Umayalpuram Sundara Bhagavatar 8. Sabhapati ^ivan 9. Govinda^ivan lo.tanjore Rama Rao 11. Tillaisthanam Rama Iyengar 12. Kanniah Bhagavatar 13. Ayya Bhagavatar 14. Neikkarappatti Subbier 15. Nemam Subramanya Iyer 16. Nangavaram Nilakanta Iyer 17. Subbarama Bhagavatar 18. Gane^ayya gam 19. Sojiri Sitarama Ayya 20. Lalgudi Rama Iyer 21. Kanjira Vidwan Radhakrishna Iyer 22. Sevima Venkatachalapati Bhagavatar 23. Amritalingam Pillai Disciples in Mantra and Tvotisha: 24. Walajapet Pottijosyar 25. Kumbakonam. Aravamuda Iyengar

7 The disciples not there in the list of Prof.P.Sambamurthy but given by K.N.^rinivasan are, 1. Tillaisthanam ^rinivasa Iyengar 2. Walajapet Kuppier 3. Tyagarajan (grandson of the saint). The Kanjira vidwan Radhakrishna Iyer is not tihere in the list of K.N. Srinivasan. The name of the disciple 'Sevuna Venkatachalapati Bhagavatar' given by Prof.P.Sambamurfhy is given as '^ouriya Venkatachala Bhagavata/ in the article of K.N. ^rinivasan. OBTECnVES OF THE STUDY The main intention of this Thesis is a general study of the contributions of 'Tyagaraja and Disciples' to Camatic Music and to know the influence of Tyagaraja on his Composer-Disciples. i. To know the various musical forms composed by Tyagaraja and Disciples. ii. To make out the structures of the compositions they created, iii. To distinguish the Raga-s and Tala-s used by them, iv. To understand the similarity or dissimilarity between Tyagaraja and Disciples. DE-LIMITATIONS OF THE STUDY Since there are restrictions regarding the time and space, the researcher is forced to select an area for this work. Only the contributions of four disciples of Tyagaraja namely, Subbaraya Sastri, Walajapet Venkataramana Bhagavatar, Vina Kuppier and Manambuchavadi Venkatasubbier have been undertaken in this

8 study, since these four are the main composers among the disciples whose com.positions are available. Since the ptupose of work is to realize the influence of Tyagaraja on Disciples, the same Raga-s used by them for composing Kriti-s are selected. Though a general study is made in the Raga-s and Tala-s used by Tyagaraja and selected disciples, a detailed study on Tala is not done in this work. METHODOLOGY A Co-relational study focusing on the Analytical research is done in this work. A historical touch also can be experienced in the first part of the work and method adopted in Basic Research. The following procedures have been adapted by the researcher to formulate this Thesis: i. Collection of the compositions composed by the four disciples of Tyagaraja by referring to the various books. ii. Visiting the inhabitant places of these disciples and collect information from the people who relate to them. iii. Knowing the number of compositions in the Raga and Tala handled by them and also the different musical forms attempted by them. The Structure of their compositions, the language preferred, the deities they praised, the literary beauties are also taken into consideration. iv. Discovering the commonly handled Raga-s by Tyagaraja and Disciples and collecting the compositions created in this Raga-s.

9 V. Notating the compositions which are available in Cassettes and translating the Tamil and Telugu Notations which exist in Text Books and analyzing their distinguishing features in its Literary and Musical Aspects. vi. Observing the features of Tyagaraja Kriti-s and comparing it with the compositions of the Disciples to know the influence of Guru in Disciples. vii. Learning to sing the compositions with tlie help of competent Guru-s and Pre-Recorded Compact Discs. viii. Preparing Audio CD of selected songs composed by the Disciples of Tyagaraja. The common Raga-s handled by Tyagaraja and three Disciples namely Subbaraya $astri, Walajapet Venkataramana Bhagavatar and Vina Kuppier are Dhanyasi, Darbar, Mukhari and Begada. The Kriti-s of the Disciples in these Raga-s are analysed in this work. Tyagaraja Kriti-s are only observed for comparison. Since, the compositions of Manambuchavadi Venkatasubbier are less in number and no compositions are available in the above said Ragas, the researcher has taken the Kriti-s in that Raga-s which are coiranonly handled by Tyagaraja and Manambuchavadi Venkatasubbier for analysis. They are Devagandhari and Malayamarutam. A brief description of tihe life history of Tyagaraja and Disciples and the general assessment of the compositions and the analysis of the selected Kriti-s are given in the following chapters.

10 RELATED REFERENCE The inspiration for this Topic was from the book 'The Contribution of the Trimurti to Music'. The article written by K.N.Srinivasan about the 'Disciples of Tyagaraja' made the researcher to think about the Topic - 'Compositions of Tyagaraja and those of his Disciples-Composers'. The list of the Compositions of Tyagaraja is taken from the I and II Volumes of 'Kritimanimalai' (English Adaptation of the Rangaramanuja Iyengar's work) by his daughter-disciple, Padma Varadan. The notation of the Tyagaraja Kriti-s in selected Raga-s is taken from the book 'Compositions of Tyagaraja' by T,K.Govinda Rao. The list and notations of the Kriti-s com^posed by Subbaraya ^astri are adopted from 'Subbaraya ^astri 's and Anna Swami ^astri's Compositions' by Vidya ^ankar. The book '^rimad Venkataramana Bhagavatarin Swara sahityangal and Vazhkai Varalam' (Tamil) written by K.K.Surendra nath have been used for the list of compositions and notations of Walajapet Venkataramana Bhagavatar. This book is published by Srimad Venkataramana Bhagavatar Swamigal Jayanti Cormnittee, AjT^ampettai this is the only available authentic book on the compositions of Venkataramana Bhagavatar.

11 The list and notations of the compositions of Vma Kuppier is taken from the book 'Pallavi Swara Kalpavalli' by Tiruvottriyur Tyaga5^ar. Since the compositions of Manambuchavadi Venkata- Subbier are not present in a single book, it has to be collected from different sources. The Kriti-s of Manambuchavadi Venkata Subbier in the Raga-s Kutuhalam, Malayamarutam and Pravalajyoti are taken from the book, '^ri Kritimanimalai'(4* Part), written by R.Rangaramanuja Iyengar, printed in The notation of the Kriti in Devagandhari is from ''Kritimanimalai'' (English Adaptation) by Padma Varadan. The Vamam in Hamsadhwani is present in many books like 'Vamamanjari' (English) by T.K.Govinda Rao and 'Dakshinendyan Sangitam' (Malayalam) by A.K.Ravindranath. Some Audio releases of the Kriti-s of Venkatasubbier like 'A6watha' sung by Sanjay Subramanyam and Websites like, v^ww-raa^-a-co-rn are cilso made use in this study.

12 ii. BRIEF PESCRIFnON ABOUT TYAGARATA AND DISCIPLES India is said to have a rare benefit of budding a marvelous galaxy of gems in all fields. It includes Saints, Scientists, Musicians, Doctors, Patriots, and Mathematicians. The most beautiful and divine place which the Camatic music world ever seen is Tiruvarur - A small village in Tanjavur District. Tiruvarur is musically very rich because the Musical Trinity - Tyagaraja, MuthuSwami DTkshitar and ^yama ^astri took their birth here. "'It is indeed a miracle' wrote B.CDeva, 'that all the three greatest composers were not only contemporaries but were bom in the same Tiruvarur, in houses separated by a lane or two. Besides being Musicians of extraordinary cahber, they were au yogis and mystics.''^ TYAGARATA ( ) Lord Tyagaraja, the Presiding Deity of Tiruvarur appeared in dream, before Ramabrahmam, who was a Scholar in Sanskrit and Telugu, and predicted that, a male child will be bom to Ramabrahmam and his wife Sitamma, who wiu later on become a legend in Music. The Lord also asked to keep the name of the child as 'Tyagaraja'. ^ N.RJlajagopalan - The Fragrant Garland (Biographical Dictionary of Camatic Composers and Musicians) Book IV - Page.84 10

13 BIRTH DETAILS AND MUSICAL HERITAGE In Kali era 4868, Sarvajith Varsham, 25* of the Chithira Month, ^ukla Sapthami day, on the Star Puyam in Katakalagnam, at Noon 12 'O Clock, Monday, the Prince of Camatic Music, Tyagaraja was bom. It corresponds to May 4*, There exists some controversy regarding the birth date and place of Tyagaraja. Some of the disciples of Tyagaraja themselves opines that he was bom at Tiruvaiyar itself in the year But, scholars in Carnatic Music have accepted the notes of Venkata Suri who was the disciple of Walajapet Venkataramana Bhagavatar and Tanjavur Rama Rao who were a disciple of Tyagaraja that, the birth of Tyagaraja was on May 4'*^, His episode from May4th, 1767 to January 6*, 1847 was a golden period in the Camatic Music History, Tyagaraja belonged to the Bharadwaja Gotra and Apastamba Siitra, in a very orthodox family called Miu-iganadu or Mulakanadu sect. His father Ramabrahmam was a scholar in Sanskrit and Telugu and was patronized by Tanjore Maharaja, Tulajaji II. His mother Sitamma was talented in Camatic Music and she was very fond of Purandaradasa Kirtanas. His grandfather, Giriraja Brahman also was a Sanskrit Poet. His maternal grandfather was Kalahasti Aj^a, who made him familiar with "Sangita Ratnakara' and "Naradiyam'. Tyagaraja is said to be the incarnation of Saint Narada. Besides Tyagaraja, his parents had two children, Panchapake^an and Ramanathan. Tyagaraja was the younger one among them. 11

14 BUDDING AS A COMPOSER MUSICIAN For better expediency, the family moved to Tinivaiyar. Tyagaraja learnt Sanskrit and Telugu from his father. The talent of Music was already embedded in Tyagaraja. His mother taught him Purandaradasa Kirtana-s. The long-line tradition of his family was followed all the way through his life. He used to recite Vishnusahasranamam and Ramayana. Since his father was an adept in reciting and exposing the slokas of Ramayana, listening to him, Tyagaraja became familiar with all the slokas of Ramayana. Thus a rigid Bhakthi towards Rama was brought up in his mind. The family members of Tyagaraja followed a practice of composing Bhajans, Yakshagana-s and a variety of devotional songs. He studied in a Sanskrit school in Tiruvaiyaru. He has studied Vedas, Upanishads and $astra-s in Sanskrit college, Tiruvaiyar and Kavya, Alankara and Nataka under Govinda Dikshitar. Tyagaraja has mentioned this in his own kriti, 'Atugaradani' in Manoranjini Raga in the commencing line of the Charanam, 'Veda ^astropanishad vidudaina nijadarini.' Tyagaraja was given great care and love by his parents. Child Tyagaraja wrote small songs on the wall of the house and his father realized the composer in Tyagaraja and showed it to Ramasesha Sastri and Bhashyam Krishna Sastri, who approved the talent of Tyagaraja. He was influenced by the Purandaradasa Kirtanas and Divyanama-s which has been taught by his mother. This resulted in his first kriti, 'Namo namo Raghavayamani^am' in 12

15 De^yatodi Raga, set to Rupaka Tala. This song and 'Tavadasoham' are said to have composed originally in Punnagavarali. Sonti Venkataramanayya was a talented and reputed musician in Tanjore. He was well-versed in Vina and Vocal music. Tyagaraja often listens to the Vina recital of Venkataramanayya on the way to the garden where he gets the flowers for pooja. Noticing Tyagaraja's interest to study music, his father requested to take Tyagaraja as his disciple. Guru realized Tyagaraja's talent and within a short period, Tyagaraja became skilled in Camatic Vocal music and Vina. EKAPATIVIGRAHA OF ^RJRAMA During the reign of Tanjore Mahctraja Tulajaji II, Ramabrahmam was asked to give discourses on Ramayana, at his Court. Tyagaraja helped in reading the slokas and Ramabrahmam explained the meaning of the slokas. Thus, the family was offered with a piece of land in Pasupati Kovil ia Tanjavur along with the house in Tiruvaiyar. This house was partitioned at the demise of Ramabrahmam and the northern part of the house was given to Tyagaraja. An 'Ekapithavigraha' which stood as an inspiration for the saint in the later life was also given to Tyagaraja. The Elder brother Panchapakesan was very selfish and always found way to irritate his yoimger one. Once Tanjore King, Shahji Maharaja honored Tyagaraja as his coxirt musician. Tyagaraja refused the same and Panchapakesan became angry and asked: "Is your Bhakthi towards 13

16 Rama provide you with food and cloth? At this moment, he sang 'Nidhichala sukhama' in Kalyani Raga. Panchapake^an threw his ^rirama vigraha into Kaveri in the absence of Tyagaraja. For two months Tyagaraja searched it in grief and at last his vigraha came back from Kaveri. ''Kanugontini' in Bilahari, 'Sallare' in Ahiri and 'Ettadorakitive' in Vasanta are the Kritis composed by Tyagaraja at the receipt of this vigraha. With all these hindrances, Tyagaraja went on with his Ramabhajana. This house was later purchased by Tyagabrahma Aradhana Mahaseva Sabha. Two generations of Tyagaraja family lived in that house. Still, a divine presence can be experienced there. It is this holiness that helped in the factor that, this house is at present as well used for 'Seva' (charity) to people, what Tyagaraja also did at his time. FAMILY LIFE Tyagaraja's first wife was Parvati who died recently after five years. Then, Kamalamba (Parvati's sister) came to his Hfe. She was an ideal wife and was a devotee of Dharmasamvardhani. They were blessed with a daughter who was named after Tyagaraja's mother, Sitamma. Sitamma had one child, Tanchapake^an', who was a violinist and married to Gururamma. But at his early age, he died without matter. He was the last one in Tyagaraja's generation. They had no children to keep up the generation. Though, his family generation ended with Panchapakesan, his musical family or 'sishya parampara' still exists. 14

17 TYAGARATA AND ffls GURU The Guru-Sishya relationship between them was bonded with divinity and this relationship became everlasting. Sonti Venkataramanayya was so proud about Tyagaraja that he said 'Dorakuna Ituvanti ^ishyudu' - Can I get a disciple like this? There is no doubt such an obedient disciple only can become a brilliant Guru. It is said that once, at Tyagaraja's concert, at his 25* age before a very talented audience, his guru Sonti Venkataramanayya described Tyagaraja as a very beautiful garden with plenty of flowers and leaves, and himself as a tiny leaf in that garden. "As Suddhananda Bharati beautifully summarized his Hfe, 'Tyagaraja's father was Rama Brahman; his book was the immortal epic, Valmiki Ramayana; his mantra was Rama; his God was Rama; and his Ufe was a stream of Rama consciousness... He was Mira in emotion, a Kabir in devotion, a Purandaradasa in Music and a Nammalwar in Vision.''^ Tyagaraja had the vision of Rama when he completed 96 crores times of Rama nama japa. It took 21 years for him to complete and on his 39*^ year/ he was blessed witli the Dar^ana of SriRama, Sita, Lakshmana and Anjaneya. Rama^adakshari Mantra Upadei^a was given by Swami Ramakrishnananda, who was considered by Tyagaraja as his 'Atmaguru'. It is also said that Narada himself came before him in the form of a sanyasi and presented 'Swaramavam', the lakshana grantha written by Narada. Sanyasi promised to come after ' N.R.Rajagopalan - The Fragrant Garland (Biographical Dictionarv of Camatic Comoosers and Musicians) Book IV - Page.SS 15

18 some time for his meal. Tyagaraja waited till night and he went for sleep without having any food. In the dream, the Sanyasi appeared and revealed that he was Narada. Tyagaraja has paid his respects to Narada by composing the kritis: Naradaguru Swami (Darbar), ^ri Narada Nada Sarasmiha (Kanada), Naradamimi Vedalina (PantuvaraH), and Varanarada (Vijaya^ri). LANGUAGE AND STYLE He wrote most of his composition in Telugu, his mother tongue. He has also used Sanskrit. Music with Bhakthi - This was the style of Tyagaraja. He had a deep knowledge and he gave importance to Sadhana which means Repetition, Recollection and Reproduction. He visited many places Hke Tiruvotriyur, Kovur, Kanchipuram, Lalgudi, Nagapattinam, Walajapet, Tirupati, Puttur, Shohngar, Madras, ^rirangam Dhanushkoti and composed a number of valuable gems in the form of Kriti-s in all these places. SAMADHI After all the visits, Tyagaraja finally reached Tiruvaiyar. His wife passed away in Tyagaraja had a divine vision of ^rirama with Sita, Lakshmana and Anjaneya standing on the hill. At this scene, Tyagaraja sings 'Giripcd' in Sahana Raga. On January 6"*^, 1847, pushyabahula panchami day morning, he composed Taramatmudu' in Vagadhiswari Raga and Taritapcmiukani' in Manohari Raga. At the predicted moment, Tyagaraja attained Mukti while all his 16

19 disciples and admirers gathered roxmd him. His mortal remains were buried in the banks of Kaveri River. At present, this divine place has become a pilgrimage centre for music lovers. A temple was also constructed later. Every year, on the Samadhi day, Tyagaraja Aradhana is conducted and thousands of musicians flow to this place. To brief the life history of such a great personality like Tyagaraja is a hard task. BHAKTI TOWARDS ^RJRAMA Tyagaraja, until the end of time stood for Bhakthi in his life. His immense Bhakthi towards SriRama is reflected in his Kriti-s. He was well-versed with the 6loka-s in Ramayana from childhood itself. Tyagaraja is said to have composed around 24,000 songs and only around 700 of these are available now. The number of verses in Ramayana is 24,000 and the number of the total Kriti-s of Tyagaraja is also 24,000. Such a wondering correspondence makes sure that he has great influence of Ramayana. His Bhakti towards Rama was eternal. Tyagaraja performed daily pooja-s to the idol of SriRama. He composed special songs for each occasion. For Example, for offering betel, he sang 'Vidamuseyave' in Kharaharapriya, for milk, 'Aragimpave' in Todi and for sleep, he sang 'Uyyalaliigavaiya' in Nilambari Raga. Once Swati Tirunal Mciharaja of Travancore invited him to his court and promised him to give the status of Chief Samsthana Vidwan. Tadavi ni Sadbhakti' in Salagabhairavi Raga 17

20 was his reply which means that which place implicit faith in Rama is the real Tadavi'. RELATIONSHIP WITH CONTEMPORARIES Tyagaraja had a behavior of appreciating the real talents of other musicians also. It is said that Swati Tirunal used to send his compositions to Tyagaraja through Shatkala Govinda Marar. Tyagaraja was very much interested in Swati Kritis and sent reply through Govinda Marar himself. Once when Govinda Marar from Kerala came and sing the most complicated Ashtapadi 'Chandana Charchita' in six degrees of speed, Tyagaraja offered his respect in the form of the Pancharatna Kriti in ^ri Raga, 'Endaro Mahanubhavulu Andariki Vandanamxilu'. He maintained a good relationship with his contemporaries, ^yama ^astri is said to have discussed his kritis with Tyagaraja. Subbaraya ^astri, son of ^yama $astri was a disciple of Tyagaraja for some years. RELATIONSHIP WITH DISCIPLES Tyagaraja was an exceptional guru to his disciples. On the reverse, the disciples were also very faithful to his guru. ''Tyagaraja paired off his disciples according to the pitch, timbre, compass, responsive character, ring and capacity of their voices and taught to each pair not more than 200 Kriti-s. Thus he distributed his thousands of compositions amongst the several pairs of his disciples. A shrewd teacher that he was, he realized that number (of Kriti-s) 18

21 was perhaps the upper limit to the retentive capacity of the average human memory. The cleverer disciples were however allowed and encouraged to learn more pieces either from the Great composer himself or from other senior disciples".'* Among the disciples, Venkataramana Bhagavatar is said to have recorded many of the incidents in Tyagaraja's life and also the lyrics of the compositions in palm leaf. These pahn leaf manuscripts are present in Saurashtra Sabha in Madurai. Later, these various schools cropped up under the headship of these disciples to uphold Tyagaraja's luxurious creations. He was very open-minded and kind. It is said that only on one occasion, he lost his temper. It was when his disciples sang a JavaH and when he began to punish them, his wife interfered and pointed out to him the value of Calmness or 'Santa'. He became cahn and sang the Kriti, '^antamuleka soukhyamuledu' in Sama Raga, Adi Tala. It is read that when pupils came to Tyagaraja without swarjnanam., he prepares them to study difficult compositions by initially teaching them simple Divyanama Kirtana-s. Later, when such pupils come, Tyagaraja sent them^ to other musicians to study the basic lessons. "The first Kriti that Tyagaraja invariably taught to his disciples was '^ri Janaki manohara' in I^amanohari Raga, Adi Tala. The Umayalpuram disciples followed in the footsteps of their * Prof.P.Sambamurtiiy - Great Composers II Second Edition. pg.181 The Indian Music Publishing House, Madras.(1970; 19

22 master when in turn, they taught this piece first to the disciples who came to learn under them".^ It is said that the disciples were on their duties like, recording the compositions in notation at the moment it flows from the mouth of Tyagaraja, providing Drone, Mridangam and Jalra during Bhajanas in his house and Unchavrittis, bringing flowers for puja-s and looking domestic works at Tyagaraja's home. '"Tyagaraja was never referred to by name but by the dignified appellation of 'Ayyarwal' is proof of the fact that the Great composer was held in high veneration by his disciples, admirers and the general public".^ Unchavritti was the main source of food for his family as well as disciples. Tyagaraja along with disciples sang through the streets and the people gave rice and other articles to them witih pleasure. A strong and boimded relationship existed between Tyagaraja and Disciples. No doubt to say that the brilliant compositions of Tyagaraja were the attraction of the disciples to stay with him for long periods. ^of.p.sambamurthy - Great Composers II Second Edition, pg.181 The Indian Music Publishing House, Madras.(1970) * *Prof.P.Sambamuitby - Great Composers n Second Edition, pg.l84 The Indian Music Publishing House, Madras.(1970) 20

23 iii. COMPOSERS AMONG THE DISCIPLES "Tyagaraja had numerous disciples. The word 'disciple' is too stale a word to be used in respect of his prime Sishyas. The Bard was divine avatar to them and they were his apostles, Ekalavya-s and Arjuna-s. He was Paramatma to those Jivatma-s. Their passion to stick on and serve him is proverbial/'^ Each and every disciple of Tyagaraja was fully immensed and saturated with devotion towards their Guru. Disciples of Tyagaraja were very fortunate to have the benefit of Gurukulavasam with the great Guru Tyagaraja and it will definitely be a divine experience of hearing, studying, singing and propagating Tyagaraja Kirtana-s. SundaraBhagavatar and KrishnaBhdgavatar of Umayalpuram were among the principal disciples of Tyagaraja. They later carved out their own talented disciple-m.usicians. They were interested in performing Tyagaraja Kriti-s and explaining the meaning of Kriti-s to the crowd. The preservation of kritis was also handled by these brothers. "It was from these two savants that Ramananda Yogi (A.Ramaswamy Iyer) could gather many of the compositions of Tyagaraja and brings out a book containing the text of the compositions of the saint in the twenties of the twentieth century. It N. Rajagopalan - The Fragrant Gar]and(BiograptHcal EHctionaiy of Camatic Composers and Musicians- Book IV). 21

24 was with their help that AM-Chirmaswarny Mudaliar could bring out a book on Indian Music ii^ European notation''.* Walajapet Venkataramana Bhdgavatar and his son, Walafapet Krishnaswamy Bhdgavatar and Rama Iyengar oftillaisthdnam also belonged to this category of disciples. Walajapet Venkataramana Bhagavatar, who was weu-versed in Sanskrit and Telugu, Wcis with Tyagaraja constantly and was in the forefront for conducting Music festivals and Aradhana. The above mentioned disciples took their effort to popularize the Kritis of Tyagaraja among the public. Walajapet Krishnaswamy Bhagavatar trained a number of disciples like Bangalore Nagaratnammal and also composed Swarajati-s, Vama-s and Kriti-s. Both Walajapet Venkataramana Bhagavatar and his son have written biographies of Saint Tyagaraja. Tlie present day musicians are indebted much to these Tyagaraja Sishyas. TiUaisfhanam Rama Iyengar is said to have an attractive voice and his brother ^rinivdsa Iyengar was also a disciple of Tyagaraja. Rama Iyengar was a person who portrayed in his life, the devotion, kindness and philosophies of Tyagaraja. One of his disciples Kanniah Bhdgavatar moved to Travancore and became the court musician of Mciharaja Swati Tirimal, to spread the music of Tyagaraja in Kerala. Another disciple Vtna Kuppier, a great Bhaktha of Venugopala Swami has composed Vamams, Kriti-s, Group Kriti-s and Tillana-s. Vina Kuppier trained a number of * KJ^.Srinivasan - The Contribution of the Trimurti to Music Manipadukanidhi Trast (2006) 22

25 disciples like Kothavasal Venkatarama Iyer and Pallavi Sita Rama Iyer. Vina Kuppier 's son Tiruvottriyur Tyagayyar was a disciple of Tyagaraja for some time. Subbaraya Sdsiri was also a prime disciple of Tyagaraja. Being the son of Syama ^astri, he came to study mider Tyagaraja. He has to his credit many kritis. He had many disciples Hke Tachm" Singarachari. Tanjavur Rama Rao, being a companion of Tyagaraja, assisted him in au his duties and travels. A small amount of freedom was given to him by Tyagaraja. AU the commtmications to Tyagaraja was made through Rama Rao. It is said that he was known as 'Chinna Tyagaraja' Manambuchavadi Venkatasubbier was a relative as well as disciple of Tyagaraja. He was also an excellent composer. He trained a number of disciples hke Mahavaidyanatha Iyer, Pattanom Subramanya Iyer and Sarabha Sastrigal. The other disciples were Neikkarappatti Subbier, who was the father and giuru of Pallavi $esha Iyer and Tyagaraja, the grandson of the saint who died soon after saint's demise. The composers among the direct disciples of Tyagaraja, whose Kriti-s are available for reference, are Subbaraya Sastri, Walajapet Venkataramana Bhagavatar, Tiruvottriyur Vina Kuppier and Manambuchavadi Venkatasubbier. The list of the disciples of these four disciple-composers and their life and contribution is sketched in concise in the coming chapters. 23

26 DISCIPLES OFTYAGARAJA Disciples of Subbaraya astri Disciples of Venkataramana Bhagavatar Disciples of Vina Kuppier Disciples of Mdnambuchdvadi Venkatasubbier lannaswamy ^astri (adopted son) (composed Dani-s and Kriti-s ) 2.Sobhanadri (composed Swarajati-s) S.Chanragiri Rangacharlu (violinist) 4.Tachxir Singaracharlu S.PonnuSwami 6.Raghavelu Chetty 7.Tirujnana Mudaliar l.mysoresada iva Rao (composed Vama-s and Kriti-s) 2.Pallavi Ellaj^ar - 3.Lakshminaray ana Sastrulu 4.Kavi Venkatastiri 5AranachaIa Achari (Kanchipuram) 6^uiiisainappa (Bangalore) l.tiruvottriyor Tyagayyar (son) (composed Vama-s and Kriti-s ) 2.Kottavasal Venkatarama Iyer (composed Vama-s) 3.Fiddle Ponnuswamy (composed Vama-s) 4.Sitarainayya (Pallavi) 1.Mahavaidy anatha Iyer (composed Vama-s, Kriti-s,TiUana-s and 72 MelaRagamalikd) 2.Pattanom Subramanya Iyer (composed Vama-s, Kriti-s, Javali-s and Tillana-s) 3.$arabha $astri (Flutist)(composed Nirupanam-s for Kathakalakshepam) 4.Fiddle VenkobaRao (Violinist) 5.Panchapake a Ayya (Grandson of Tyagaraja) 6. ^ivarama Iyer 8. Kamakshi Amma [Grandmother of Vina Dhanammal) 7.Vina Dharma Dikshitulu 8.Suserla Dakshinamurty Sastrulu 24

27 SUBBARAYA 6ASTRI ( ) "Vaggeyakara, a composer, gives expression to his feelings, emotions, spiritual upsurge and devotion through the double media of music and language"^ BIRTH Subbaraya ^astri was blessed with the opportunity of having Syama Sastri as his father and Tyagaraja as his Guru. He took birih in Tanjavur in Subbaraya Sastri was the second son of ^yama Sastri, the first son being Panju Sastri. He was bom in Dundubhi Samvatsara in Simhamasa under Karthika Nakshatra. Since the family of ^yama Sastri received a good piece of fertile land from the Royal Administration of Tanjavur, Subbaraya Sastri and Panju Sastri were not at all affected with economic problems. Bangaru Kamakshi, the protector of his family was enshrined in a beautiful temple nearby his home. Yuvaraja Bhupati, who has the title of 'Abhinava Bhoja' was the Zamindar of Udaiyar palayam and was the patron of Subbaraya Sastri. TUTELAGE He was an adept in Music, Telugu, Sanskrit and Tamil. He initially studied music under his own father ^yama Sastri and later under Tyagaraja. The tutelage under Tyagaraja was a very good turning point in liis life. He was also influenced by the Maratha ' Vidya Sankar - Subbaraya Sastry's and Aimaswamy Sasby's Compositions - Parampara Publicationa, Madras

28 musicians of the time, Kokila Kanta Merugoswamy and the silvervoiced Ramadas Swami (Hindustani Music). AS A COMPOSER AND PERFORMER "There are certain features that a distinguished composer has. He devotedly follows the teachings of his Guru. He toils incessantly with intellectual honesty. He learns tlie styles of great masters without becoming imitative of any one style. He discards what he recognizes as short comings. With retrospection, experience, perseverance and involvement, his creativity expands with newness and freshness. He creates compositions of a distinct style. Subbaraya $astri is a renowned composer molded in this manner. He stands as a monumental example to testify the noteworthy principles which are guidelines in the pursuit of art '".^^Subbaraya ^astri composed Kriti-s, performed and taught music to several disciples. Subbaraya ^astri was an expert in violin and sarinda. He was a good performer in both these instrument and in vocal music too. INFLUENCE OF TRINITIES His style has the influence of Trinities. Mutliuswami Dikshitar was a frequent visitor in ^yama ^astri's house so that Subbaraya Sastri was able to hear the musical conversations between Dikshitar and ^yama ^astri. The knowledge he gained from, the trinities made his creations superb. The rhythmic talents were fuuy transferred from '" Vidya Sankar - Subbaraya Sastry's and Annaswamy Sastry's Compositions - Pg.2 - Parampara Publicationa, Madras

29 his father. 'It may be pointed out here that Syama Sastri is the only composer in the history of Indian Music to have delved deep into the mysteries of rhythm. Rightly has he been called "Tala Prastara ^yama Sastri'. He has given to posterity, the result of his works in the sphere of Tala."" Thus, a blend of Draksha rasam, Nalikera rasam and Kadali rasam can be experienced in Subbaraya Sastri 's compositions. LANGUAGE AND MUDRA Subbaraya Sastri composed Kritis in Telugu with the Mudra, 'Kumara'. There are two versions for his adoption of Mudra. Prof. P.Sambamurthy opines that, it was because he was bom in Krithika Nakshatra, the name of Subramanya. [Great Composers-I Second Edition - Pg.l09- Indian Music Publishing House-1970) In Vidya Sankar's view, the mudra 'Kumara' was very apt indeed as his father was his teacher by considering Kumara in the meaning 'son'. (Subbaraya astrvs and Annasivamy ^astri's Compositions- Pg.3- published by Varantpara',Madras ) Subbaraya Sastri was in Madras for 12 years. It was at this time he composed 'Ninnu Sevinchina' in Yadukulakambhoji Raga in praise of the presiding deity 'Sri Parthasarathy' in TripUcane. " Prof.P.Sambamurthy - Camatic Music Composers - Pg.l2l Indian Music Publishing House

30 He visited Madiirai and sang the Kriti 'Meena nayana' in Darbar Raga, which contains Kshetra Mudra in tlie first line of the Charanam 'Madhura nagara nivasini\ Once, his desire to sing 'Niraiuvina gati gana jagana' in Kalyani Raga in the Sannidhi of Dharmasamvardhini in Tiruvaiyar, in the presence of Tyagaraja, became true. At tlie completion of the recital, Tyagaraja heart fully congratulated and appreciated him for composing such a brilliant piece. He visited his wife's native place, Kanchipuram and composed two kritis in praise of Kamakshi Devi in Mukhari and Begada Raga, which contain Sthala Mudra. i Emani ne ni - Mukhari - Adi-2Kalai i^ara kanckipuralaya vasinvin the fourth line of the Charanam) it Sankari nive - 6 gada - Rupakam CKanakadri sadana' in the first line of the Charanam) Again he visited Tirupati and tlie famous 'Venkatasaila Viliara' in Hamirkalyani Raga was composed here. DEVOTION TOWARDS DEVI The devotion towards Bangaru Kamakshi was like a son to his mother. In his Kriti-s, he commimicates with Devi. Both $yam.a ^astri and Subbaraya Sastri experienced the same relationship with Devi. Most of the available Kriti-s of Subbaraya Sastri are in praise of different forms of Devi. His devotion towards Bangaru Kamakshi is seen in his manuscripts like the phrase 'Kamakshi Devi Sahayam'. 28

31 DISCIPLES AND METHOD OF TEACfflNG It is said that, Subbaraya $astri has composed more than 50 compositions and he used to teach the compositions to the disciples only after self-practicing the same several times. When he was thorough with the composition, he taught it to the disciples. This might be the reason that only aroimd 11 kritis are available. A good portion of his compositions are unavailable. Chandragiri Rangacharlu, Tachur Singaracharlu, his adopted son Annaswamy $astri, Ponnuswamy and Raghavelu Chetty who were the Nagaswara Vidwans of Kamakshi Anunan temple, Tirugnyana MudaUar, Sobhanadri and Kamakshi Amma, who was the grandmother of Vina Dhanammal were his prominent disciples. His son Annaswamy ^astri com^posed several Kriti-s of his own and also wrote more than 1000 Raga-s in Grantha characters as paper manuscript. Subbaraya ^astri passed away in 1862 in Udaiyar palayam on Krishna Dasami day of the chapamasa of Durmati samvatsara. 29

32 WALATAFET VENKATARAMANA BHAGAVATAR Venkataramana Bhagavatar, who was one of tlie main and close disciples of Tyagaraja, commences with the deep desire of his grandfather, Kuppayya, a Saurashtra Bralimin. A child who would be blessed with music in his blood - This was the heartfelt prayer of Kuppayya, who visited one shrine after the other.^^ He reached Ka^i from Tirupati and prayed for a grandchild. On his way from Ka^i, the story of KaUdasa and Vyasa came to his mind and he went to Vyasa temple and prayed: Oh Vyasa! Who gave the title 'Mahakavi' to Kalidasa; please bless us with a child who has talent in Music/ On the same night, Vyasa appeared before him in the dream and asked him to visit tlie Vighneswara temple near tlieir house and tliat VighneSwara wiu fulfiq your desire. Vighneswara appeared before him in the dream and said to Kuppayya that a child will be bom to your son with the "amsa' taken from me and Vyasa and he will be proficient in Miisic and bring fame to your family. BIRTH DETAILS As a result of Kuppayya's prayer, his grandson was born on the 10* Masi of the Sarvari year- Bahula DaSami, Mula Nakshatra, Lakshmi Devnath - Torchbearer of Tyagaraja Tradition - Extract from; THE HINDU, dt

33 Rishabha Lagna, February 18^, 1781, Sunday in Ayyampettai in TanjavTir District^^ His father was NannuSwami Bhagavatar. On examining the bab/s horoscope, he found that his future lies in music and named him 'Venkataramana' for satisfying the promise he had made to the Lord of Tirupati. TUTELAGE It is said that he learnt Sanskrit and Telugu at the age of thirteen and music from a Nagaswara Vidwan. Venkataramana is said to have been a gifted and attractive personality. In the childhood itself, Tyagaraja's music was a fascination to Venkataramana. He went to Tiruvaiyaru everyday from Ayyampettai, walking 7 miles to listen to Tyagaraja teacliing his other disciples. Venkataramana used to bring plenty of 'Tulasi' (A sacred plant) for flie daily pooja of Tyagaraja. One day, he brought flowers and Tyagaraja began to sing the Kriti Tulasidalamulache' in Mayamalavagoula Raga. While singing the charanam, 'Sarasiruha punnaga champaka..,' Tyagaraja became excited to see Venkataramana picking up the flowers in the same sequence as mentioned in the Kriti. Tyagaraja suddenly turned to Venkataramana and asked that did he want to learn from Tyagaraja. Thus he started the tutelage under Tyagaraja and it extended for 26 years. " Prof.P.Sambamurthy - Great Composers II - Second Edition Pg Indian Music Publishing House

34 Another incident is that, on a heavy summer season, Tyagaraja told his disciples that it would be better to built a hut (kottakai) at the back courtyard of the house and Venkataramana hearing this, within 2-3 days, he brought the materials and laborers and completed the construction. At that time, Tyagaraja was in Tiruvarur. When Tyagaraja's wife came to give the money for wage, Venkataramana told her that the materials were already there in his house and labourers are his own people and refused to take the money. Tyagaraja, on seeing the hut asked his wife, 'Who built this pandal?' Then his wife said it was 'Venkataramana' who used to listen to your music class in the evenings. Tyagaraja became very happy with the sincere work of Venkataramana. Tyagaraja was excited when he heard Venkataramana singing the Kritis which he taught to other disciples and blessed him with '^rirama Taraka Mantra'.^^ Without noticing any desired development in Venkataramana's studies, Tyagaraja appealed for the grace of SriRama, singing the piece, 'Jnanamosagarada' in Shadvidhamargini Raga.^^ xhe meaning of this Kriti is 'Can you not bless me with Knowledge'? This Kriti was made spontaneously and presently it is sung in Purvikalyani Raga. After this incident, a tremendous progress was seen in Venkataramana and full-fledged into a proficient composer. '" K.K.Surendranath - Srimad Venkataramana Bhagavata Swamigalin Swarasahityangal & Vazhkai Varalaru - Pg.XIV - Venkataramana Bhagavatar Swamigal Jayanti Committee^yyampettai '* Prof.P.Sambamurthy - Great Composers n - Second Edition Pg Indian Music Publishing House

35 FAMILY Venkataramana Bhagavatar was married to Muthulakshmi Ammal at his 40's. It is said that this was due to the advice of Tyagaraja. Due to some troubles made by one of his brothers, he shifted to Walajapet in North Arcot District and looked after his textile business and conducted Bhajanas in his Bhajana Mandiram. There cifter he has been called Walajapet Venkataramana Bhagavatar. Three children, two boys and a girl was bom to him and they were named Krishnaswamy, Ramaswamy and Tulasi Ammal After the demise of his first wife, Muthulakshmi Ammal, he married Lakshmi Bai and they had a son too. RELATIONSHIP WITH TYAGARATA It is said that, Walajapet Venkataramana Bhagavatar brought an exciting picture of Lord SriRama, on the marriage function of Tyagaraja's daughter. He brought that gift carrying on his shoulders all the way walking from Walajapet to Tiruvaiyar. Tyagaraja was thrilled and sang the Kriti,' Nannupalimpa' in Mohana Raga and Adi Tala, meaning "Did you come all the way walking to protect me. Oh Lord?". This spontaneous Kriti have a description of that painting in its charanam. "Surapati nilamani nibha tanuvuto uramuna mutyapu sarula chayamuto karamuna sara kodanda kantito dharani tanayato Tyagarajarchita" Meaning: O Lotus eye! How wonderfully you have presented yourself! With a frame lustrous with the blue radiance of a gem, with dusters of pearl garlands 33

36 sporting on your bosom, the resplendent KODANDA bow adorning your hand with SITADEVI, have youl"^^ From that day onwards, Tyagaraja performed pooja to this pictm'e in addition to the idol of ^rirama. Though this is a popular story, it is said that there is no reference about this in any manuscripts of Walajapet collection. Walajapet Venkataramana Bhagavatar was an ideal ^ishya of Tyagaraja. According to him, his Guru was equivalent to God. He was a creditable musician, poet and a great composer. Propagation of his Guru's songs was the mission of Walajapet Venkataramana Bhagavatar. "'My Guru, described Walajapet Venkataramana Bhagavatar in his ode titled Guru Stotra Ashtakam, is equal to Vyasa in his analysis of Vedas; to Valmiki in his usage of mellifluous words; to Suka in his spirit of renimciation and to Prahlada in devotion."^^ "On hearing from some of the contemporary musicians of Tyagaraja that, the Opera, 'Nowkacharitram' composed by him had no basis in ancient Sanskrit Grantha-s, Walajapet Venkataramana Bhagavatar became angry and took an oath saying that he would prove with in three days that 'Nowkacharitram' had a sound basis in Sanskrit Grantha-s. Accordingly, after great effort, he managed to find an ancient manuscript of a Sanskrit Graniha, on which '* Meaning taken from T.K.Govinda Rao - 'Compositions of Tyagaraja' - Pg.404 -Ganamandir Publications Lakshmi Devnatfi - Torch bearer of Tyagaraja Tradition - Extract from THE HINDU, dt

37 'Nowkacharitram' had been based. This gesture of Walajapet Venkataramana Bhagavatar was highly appreciated by the great composer who is said to have bestowed on him his full blessing. There is however another view whidi says that 'Nowkadiaritram' is totally original creation of Tyagaraja, not derived from any other source."^^ Actually it is said that tlie palm-leaf manuscript with Sanskrit verses was the work of Venkataramana Bhagavatar himself to add to the reputation of his Giun. Walajapet Venkataramana Bhagavatar's tutelage with Tyagaraja ended when he moved to Walajapet. Walajapet Venkataramana Bhagavatar was very much regretted when he was forced to migrate to Walajapet. He taught music to his son Krishnaswamy and when he became 16, he was sent to Tyagaraja. LANGUAGE AND STYLE He was a scholar in Sanskrit and Telugu. He was with his Giu"u for more than thirty years and definitely imbibed his Giu-u's style of composing Kriti-s. He adopted the languages, Sanskrit, Telugu and Sourashtra in his compositions. A variety of musical forms such as Swarajati, Vamam, Kriti and Tillana are there to his credit. He was an ardent devotee of Sri Rdjagopdla Swami, the presiding deity of Ramachandrapura. He took the names of the village and its deity in all his Kritis. The main theme of his kritis and other compositions are the praise of ^rirama, Sri Rajagopala Swami and Tyagaraja Bhakti. '^ Dr. P.T.CheUadurai, S.J. - The Splendour of South Indian Music Pg.no

38 As per the information from. Madurai Sourashtra Sabha Officials, there are actually 130 compositions by Walajapet Venkataramana Bhagavatar. Out of this, only 71 kritis are in vogue today. It includes 4 Swarajati-s, 4 Tanavama-s, 2 Padavarna-s, 60 Kriti-s and 1 Tillana. The Telugu script was published in the last century itself and it is said that since tlien, his Kritis- are being rendered by Vidwans in concerts. "The Mangalashtakam (Srimat Kakarla Vam^abdi), the Dhyana^loka-s and the Kirtana, Gurucharanam Bhajare composed by Venkatcuamana Bhagavatar in praise of Tyagaraja ctre fitting tributes to the greatness of his master. Venkataramana Bhagavatar has also composed some Kriti-s with the signature: 'Ramachandrapura' (the original name of Ayyampettai)''^^ In the words of Dr. S.Seetha, Professor and Head of the Department of Indian Music, University of Madras, "The Compositions are found to be excellent pieces highly classical in form and spirit, amalgamating the stylistic traits of the musical trinity. These compositions thus form part of our priceless classical music heritage and should be preserved through textual traditions and popularised in the interest of our classical art traditions."2o " Prof.P.Sambamurthy - Great Composers II - Second Edition Pg The Indian Music Publishing House-1970 ^^ Swarasahityangal and Life History of Srimad Venkataramana Bhagavatar 36

39 CONTRIBUTIONS AS A PROPAGATOR It is said that Walajapet Venkataramana Bhagavatar noted and preserved almost all the Kritis and Operas of Tyagaraja. Walajapet Venkataramana Bhagavatar and his son KrishnaSwami Bhagavatar were among the closest disciples of Tyagaraja. The three main Operas of Tyagaraja, Prahlada Bhakfhi Vijayarrv Nowka Qiaritram and Seefharama Vijayam became popular through the Walajapet collections. The details regarding Tyagaraja's birth and Hfe were the contribution of Walajapet Venkataramana Bhagavatar and Walajapet KrishnaSwami Bhagavatar. Their mission was handed over to his grandson, K.K.RamaSwarm Bhagavatar, who did it with equivalent strength. The Palm-leaf and paper manuscripts written by Walajapet Venkataramana Bhagavatar, Walajapet KrishnaSwami Bhagavatar and K.K. RamaSwami Bhagavatar are present in Saurashtra Sabha, Madurai and in the words of Prof. P.Sambamiurthy, "by far the largest private collection of musical manuscripts ever made^.^i These tliree writers used their own name and a prefix 'Kuppayya' as a signature. These manuscripts known as "KutTalam Suvadi', take account of texts of songs, with the Raga-s, Tala-s and notation of each Kriti. This also includes works on musicology and writing on ^' Prof.P.Sambamurthy - Great Compxjsers 11 - Second Edition - Appendix I Walajapet Manuscripts The Indian Music Publishing House