Karnatak composition has a component of the emotion or

sentiment conveyed in the composition. It is probably because of this

fact that most Karnatak music compositions are composed for singing.
In addition to the rich musical experience, each composition brings out
the knowledge and personality of the composer, and thus the words are
as important as the musical element itself. This poses a special challenge
for the musicians because rendering this music does not involve just
playing or singing the correct musical notes; the musicians are expected
to understand what was conveyed by the composer in various languages,
and sing musical phrases that create the effect that was intended by the
composer in his or her composition.

There are many types and forms of compositions. Geethams and

Swarajatis (which have their own peculiar composition structures) are
principally meant to serve as basic learning exercises, and while there
are many other types of compositions including Padam, Javali and
Tillana and the most common forms are the Varnam, and the Kriti (or
Keerthanam).Many composers have contributed to Karnatak music.
Purandara Dasa (1480 - 1564), known as the pioneer or father
(Pitamaha) of Karnatak music, formulated the basic lessons of Karnatak
music. He structured graded exercises known as Swaravalis and
Alankaras, and at the same time, introduced the Raga
Mayamalavagowla as the first scale to be learned by beginners. He also
composed Gitas (simple songs) for novice students. Although only a
fraction of them still exist and he is said to have produced around
475,000 compositions.

The contemporaries Tyagaraja (1759-1847), Muthuswami

Dikshitar, (1776 - 1827) and Syama Sastri, (1762-1827) are regarded as

~ 45 ~
the Trinity of Karnatak music. The quality of Syama Sastri's
compositions and the variety of the compositions of Muthuswami
Dikshitar, and Tyagaraja's prolific output in composing kritis, induced
the post trinity composers to compose in variety.

Prominent composers prior to the Trinity of Karnatak music

include Annamacharya, Narayana Theertha, Bhadrachala Ramadas,
Sadasiva Brahmendra and Oottukkadu Venkata Kavi. Other prominent
composers are Swathi Thirunal, Gopalakrishna Bharathi, Neelakanta
Sivan, Patnam Subramania Iyer, Mysore Vasudevachar, Koteeswara
Iyer, Muthiah Bhagavathar, Subramania Bharathiyar, and Papanasam
Sivan. The compositions of these composers are rendered frequently by
prominent artists of today.

Composers of Karnatak music were often inspired by religious

devotion and were usually scholars proficient in one or more of the
following languages: Kannada, Sanskrit, Tamil, Malayalam, and Telugu.
They usually included a signature, called a Mudra, in their
compositions. For example, all songs by Tyagaraja (who composed in
Telugu) have the word Tyagaraja in them; all songs by Muthuswami
Dikshitar (who composed in Sanskrit) have the words Guruguha in
them; songs by Syama Sastri (who composed in Telugu) have the words
Syama Krishna in them; and Purandaradasa, who composed in
Kannada, used the signature Purandara Vittala. Gopalakrishna Bharathi
used the signature Gopalakrishnan and composed in Tamil. Papanasam
Sivan (ð£ðï£ê‹ Cõ¡), who has been hailed as the Tamil Tyagaraja of
Karnatak music, also composed in Sanskrit, and used the signature
‘Ramadasan’ (ó£ñî£ê¡).

~ 46 ~
 Compositions more commonly associated with Indian classical
dance and Indian devotional music have also been increasingly used in
the Karnatak music repertoire. The performance of the Sanskrit sloka,
Tamil viruttam and Telegu padyamu or sisapadya forms are particularly
unique. Though these forms consist of lyric-based verses, musicians
improvise raga phrases in free rhythm, like an alapana, so both the
sound values, and the meaning of the text, guide the musician through
elaborate melodic improvisations. Forms such as the Divya
Prabandham, Tevaram and Ugabhoga are often performed similarly;
however, these forms can also have a set of melody and rhythm like the
Devaranama, Javali, Padam, Tillana and Thiruppugazh forms.

Javalis and Tillanas earnt high popularity among Post-Pallavi items

from the 19th Century. We will discuss all the Post-Pallavi items one by
one.

JAVALI

The word Javali is said to have come from the Kannada Word
“Javada” which means “Lewd Poetry”. Javali, a musical composition
often sung at the closing part of the concert program, is one of the most
popular forms of classical music. It is pronounced both as “Javali” and
Javadi in Kannada. The Marathi word “Jhawali” means a gesture of
eyes in the language of ‘love’. According to the Tamil Lexicon, the
origin is traced from the Urudu word ‘Jahali’ or ‘Jhawali’. But this is
not confirmed by the Persian or Arabic scholars. In the Telugu language
its etymological source may perhaps be traced to the word ‘Java’
meaning speed or ‘Vega’ or quickness, indicating the tempo in which
Javalis are usually sung.

~ 47 ~
 Whatever may be the etymological derivation of the word, one can
safely conclude that this word came into currency during the days of the
Maratha kings who ruled Tanjore during the 18th and 19th Centuries.

Javalis are supposed to deal with Sringara Rasa in various levels,

from the suggestive to the open, known as Gowrava Sringara and Pachi
Sringara. Of all the nine Rasas, the most popular rasa in which almost
all human beings are knowledgeable is Sringara rasa and dealing with
this rasa is enough reason for the popularity of Javalis among all section
of the listeners. Apart from the lyrics being readily intelligible, javalis
are also couched in catchy tunes, at times even glaringly over looking
grammar.

Javalis, usually deal with the Nayaka Nayaki bhava according to the
convention of the eight categories of Sringara Nayikas described in the
Treatises like ‘Rasa Manjari’ by Bhanudatta. Incidentally, in the
Seminar on Javalis in the Karnataka Gana Kala Parishad, Bangalore in
January, 1979, some speakers referred to Vairagya Javalis where the
theme was not in the usual Sringara rasa, but in Vairagyam. Some claim
that jaavalis are as delightful, as earnest and as respectable in their
exposition of divine love as that of the padams. The main difference
between padam and Javali is in its musical structure.

It is a strange coincidence that most of the great Karnatak Music

compositions are in Telugu language while the area which leads in
enlightened patronage of Karnatak Music was Tamil Nadu. Emperor
Krishnadevaraya whose mother tongue was Tulu chose to write a
renowned literary work in Telugu. In his book titled as “Aamuktha-

~ 48 ~
malyadha”, he has asserted in the introduction with conviction “Desha
Bashalandu Telugu Lessa” (Telugu is the best language in the country).
The great Tamil poet Subramaniya Bharathi has praised Telugu in the
lines “Sundhara Telunginil Pattisaithu” - ²‰îó ªî½ƒAQ™
𣆮¬êˆ¶ (let there be good Telugu in songs of music). The Telugu
did enjoy a special status as the most musical language and most
composers irrespective of what their Mother tongue was, preferred to
compose Karnatak Music songs mainly in Telugu, and that language was
made use of in most of the Javalis.

According to some scholars the structure, the contents and the

technique of the Sringara Padams of Annamacharya (14th Century)
closely resemble those of a Javali of the modern times. But, it is only
from the time of Dharmapuri Subbarayar (which is about the latter half
of the 19th Century); Javali began to exist as a definite form, which has
continued till today. Its origin, history and growth until Dharmapuri
Subbarayar’s times have been one built on rather loosely knit
conjectures.

Dharmapuri Subbarayar was the most famous Javali composer,

and next to him were some names like Thiruppanandal Pattabhi-
rammayya, Tatchur Singrachari, Patnam Subramanya Iyer, and
Poochi Srinivasa Iyengar.

DHARMAPURI SUBBARAAYA IYYAR

A 19th century composer (pre-Trinity), Dharmapuri Subbarayar

hailed from Dharmapuri, Tamilnadu, and composed in Telugu. He is the
most notable composer of the Jaavali form, of which he is the
~ 49 ~
universally acclaimed master. Most of the music he composed,
therefore, dealt with sringaara rasa, or romantic and even erotic love,
and all were of the jaavali form. Many of his compositions were
composed in the home of Veena Dhanam, whose music he admired, and
who learned around 60 javalis from her. It is said that he may have
composed the poignant javali “Prana sakudu” (Senjurutti) at her home,
grief-stricken at his inability to save her from bankruptcy. Smara
sundaranguni (Pharas) was also written out of respect for her.

Javalis like Parulanna mata (Kapi), Prana sakudu”(Senjurutti),

Vaani pondu (Kaanadaa), Charumati (Kaanadaa), Muttavadura
Mohananga (Saaveri), Ethanaichonalum (Saaveri), Narimani
(Khamas), Adi neepai (Yamuna kalyani), Idi neeku (Begada) and
Emandune muddu (Saindhavi) are among his compositions.

TIRUPATI VIDYALA NARAYANASWAMY NAIDU

Tirupati Narayanaswamy Naidu had his training from his mother,

Komalamma in vocal music and later learnt veena from Kalahasti
Venkataswamy Raju.A highly versatile personality; he was a vocalist,
Vainika, Violinist and Harikatha performer par excellence. He was also
a composer of class. His compositions are shining examples of beauty in
simplicity and bring out the essence of the raga in a few choice phrases.
They were popularized to quite an extent by his nephew and disciple
Narasimhalu Naidu. His compositions are musically devotional. His
signature is Tirupatipura or Tirupati Venkatesa. The language of his
compositions is Telugu.

~ 50 ~
 His popular Compositions are Sarievvare (Sahana), Vagaladi
(Behag Javali), Ikanaina naa (Puspalatika), Paraakelasaraswati
(Natakurunji).It is interesting that a few kritis of his have become
popular in other regions too. His repertoire includes Kritis and
Javalis.The following two kritis Ikanaina naa (Pushpalatika) and
Paraakelasaraswathi (Natakurunji) are rendered frequently by
musicians in concerts.

TIRUPPANANDAL PATTABHIRAMAYYA (B. 1863)

Pattabhiramayya was a native of Tiruppanandal, which in Sanskrit,

is known as Talavaneswaram, near Kumbakonam, Tamilnadu. He is also
known as Pattabhirama Rao and Pattabhirama Iyer, who have been
bilingual, speaking Telugu and Kannada. He was well-versed in both
these languages as well as Tamil. He is known for his Javalis, dedicated
to the deity in Tatakeswaram, near Kumbakonam in Tamilnadu. The
unique feature of his compositions was Madhura bhakti. He has also
composed several Javalis dedicated to Maharaja Jayachamarajendra
Wodeyar of Mysore. His disciples include musicians like Lalitangi, the
mother of M. L. Vasantakumari and Jayammal, the mother of T.
Balasaraswati. His javalies are mostly in sringara rasa and they are
purely love songs. The languages used in the compositions are Telugu
and Kannada. His mudra is Talavanesa.
There are also five Javalis with the mudra Ganapureesa.Javalis like
Marubari (Khamas), Vanipondu (Kanada) and Muttavaddura (Saveri)
are popular in concert repertoire.

~ 51 ~
Nee maatale– Javali – Poorvikalyani – Thirupanandal Pattabhiramayya.

Pallavi

Nee maatalemaayanura Samil Balkaraa

Anupallavi

Ememo bodhinchi nannemaara Jesevura

Charanam

1) Chakkani Samivale Chekkili nokki Rava

Mukkera nee kichchenani takkulache sokkinchina

2) Jaalamu Chesi kalasi eli ratnaala Jimikki

la Jata pampenana talavana lola ala

Meaning for this Javali:

Pallavi – What happened to all those words of yours? Oh! My
lover.

Anupallavi – With many of your magic words you made me

believe you and cheated.

Charanam 1 – Like a seasoned lover, you fondled my cheeks

saying that you would give me a Diamond nose ring and mesmerising
me with your cunning words.

Charanam 2 – You played magic upon me and made me surrender

to you.Continue your sweet promise to send me a pair of Jewels for my
ears.

~ 52 ~
 Oh! Talavanalola.

The romantic overtures of the heroine in chastening the paramour

which usually constitute the lyrics of a Javali are well brought out in the
Javali.

TACHUR PEDDA SINGARACHARYULU

Singaracharyulu was an Andhra Vaishnava Brahmin and a scholar

in Sanskrit, Telugu and Music. Pedda Singracharyulu was an expert
violinist and composer of many Kritis, Padas and Javalis (which are all
printed in “Gayaka Siddhanjanam” written by him). The compositions
of Pedda Singracharyalu are both in Sanskrit and Telugu. “Vani joli
inkeiane” (Behag) is one of the famous Javali of Tachchur
Singaracharyulu. His contribution to music literature is not only valuable
form, but also of preserving the classical compositions of the great
musicians and composers of the past like Tyagaraja, Muthuswamy
Dikshitar, Syama Sastri, Seshayyangar, Matru Bhutamyya, and Pallavi
Gopalayya.
There have been composers of Javali in Tamil and Kannada also.
The music and lyric of Javalis was so catchy that even the film field did
not hesitate to use exactly the same music in some of their songs sung by
famous singers of the film field. “Elaradayane” for instance the Javali
in Bhairavi has been copied in the film song “Unnai Kandu
Mayangadha” – (࡬ù‚ 致 ñòƒè£î) made famous by matinee
idol M. K. Thyagaraja Bhagavathar. Even drama artiste did not lack
behind and the drama idol S.G. Kittappa has sung a famous song

~ 53 ~
“Gandiban Maithuna” (裇¯ð¡ ¬ñˆ¶ù£) in a tune identical with
the Javali “Emadhune Mudhubalamani” in Kapi. The trend did not
continue widely because of the needs of film music which were
recklessly given to more and more of showiness.

Though majority of the Javalis are in Telugu, some later composers

have tried Javalis in other languages also. Javalis like “Mathada
Bharadeno” in Kannada language have also figured in many concerts.
The music of the Javalis is slightly faster than that of the padams. The
love theme – the heroine pining for the beloved – is found in both
padams and Javalis. The sringara rasa is elaborate in padams where as
Javalis mostly deal with mundane love. The music in javalis is lighter;
the language is colloquial with a sprinkling of humour and satire here
and there.

The emergence of Javali in the realm of music, follows a pattern of

evolution, where mankind reacted more to music, the lighter it was
made. Even, Khayal in Hindustani Music has usurped (eclipsed) the
pride of place from Dhrupad by its having been made comparatively
lighter. Javali was a welcome addition to an age, which was getting tired
of the too heavy doses of classical music, which alone was the mainstay
of music concerts of that period.

A word of caution here when we say light, we do not mean the term
light music as it is understood today. The word light music is a dynamic
and relative term. What might have been light some decades back might
as well fall into classical category today. Even in lightness or heaviness,

~ 54 ~
there are degrees, a good portion of our present day film music Ultra
light, if one may say so, the dilution from the classical level being so
much as to make it difficult to appear as any music at all. Just any blare
of any combination of sounds goes in many a film situation. The limits
of lightening the music, was responsible and respectable even in the
films some decades back. In fact, some of the well known film songs
were filmy translations of well known Tyagaraja songs.

Even heavy classical music of Kshetrajna padas got adopted in

films of those days, for example, “Mogudochchi Pilichenu”. (Sahana)

This padam had been taken in toto in the film ‘Chintamani’ also in
Tamil sung by actress K. Ashwathama as “Kandavudan ullam kollai
konda kalvaa; Kaarunyane Kamalakkanna” (è‡ì¾ì¡ àœ÷‹
ªè£œ¬÷ ªè£‡ì èœõ£;; 裼‡ò«ù èñô‚è‡í£)

What more, in some films and many dramas, Tyagaraja kritis and
even those of Harikesanallur Muttaiah Bhagavatar’s were rendered as
such:

S.G.Kittappa’s versions of famous concert kritis like “Evarani” –

(Devamrita Varshini) and “Entarani” (Harikambhoji) can be quoted
here.

In the film, ‘Bhama Vijayam’ (ð£ñ£ Müò‹) of those days, late Shri.
G. N. Balasubramanyam and late Shri. Madirimangalam Natesa
Bhavatar has sung Tyagaraja’s “Kotinadulu Dhanushkotilo” in Todi
with alapanas and spectacular swarams too. No wonder Javalis, with
their welcome lightness were more liberally borrowed by films.

~ 55 ~
 Here are few examples:

1. “Cheli nenetlu sahintune

Alavanito varnintune” (Pharaz)
“Maravene ennalilume | in
Giridhari unadarule” | Tamil
In the film “Meera” sung by M. S. Subbalakshmi

“Elaaraadayane kaamini” (Bhairavi)

“Unaikkandu mayangaada pergalundo”....... in Tamil
- Sung by M. K. Tyagaraja Bhagavatar in the film ‘Gunalan’ or
‘Ashok Kumar’.

2. “Emandune muddu balamani

Emani Vinavintune oh cheli” (Kapi – Madhyama sruti)
“Gandipan maittunaa kalinga narttana ] in
Kaattarul mani vadana – govardhana” ] Tamil
- Sung by S.G. Kittappa in Drama.

From the examples, it can be seen that the music of the javali has
that prime requisite of film music- the catchiness and the immediate
arresting appeal even over the galleries.

Of course, the films would choose only the more flashy ones among
the Javalis. But by the yardstick of today’s film music, even the Javalis
are rather heavily classical and Javalis have remained in their right place
– the music concerts.

It is commonly accepted that classicism and the importance of lyric

are balanced in inverse proportion – i.e. more classical a piece, the less

~ 56 ~
the importance of words. In fact, raga alapana – the quintessence of
classicism has no lyric at all and at the other extreme, many popular film
tunes have very appealing lyrics, but are un-recognizably diluted from
the classical from of music. And javalis are happily a via media. While
the mathu does play a characteristic part, the dhatu of javalis is not any
less classical. It is perhaps because of this, javalis have been put under
light classical variety.

Perhaps, the most important characteristic of the music of javalis is

what would be called ‘the javali lilt’. A lilting effect is created, by
employing more of tisra phrases.

An example will explain the meaning of tisra phrases occurring in

most of the Javalis.

“Apaduruku lonaitine” (Khamas)

Du ru ku lo nai ti/ne

3 3 2 3 3 2

Most of the Javalis are in Adi tala, which obviously accommodates

this lilt more than the other talas. Perhaps because of this, on a minute
observation, the javalis in Rupaka and Misra Chapu talas would sound
comparatively less-romantic and more towards serious classical music.

Examples:

1. Ilagunanunda vachchuna - Darbar

2. Mariyada Teliyakane - Surati
3. Entati Kuluke - Kalyani

~ 57 ~
 ‘Entati Kuluke’ gives the heaviness of ‘Etavunara’ or ‘Enduko ni
manasu’. But still the javali spirit in such pieces is maintained by lyric,
characteristic of this genre.

That takes us to an analysis of the lyrics in the javalis. While on the

topic of javalis, it is impossible to go without touching padams. It may
be correct to say that javalis are lightened versions of padams both in
music and lyric. The sahityas of both padams and javalis reveal in
Sringara rasa. But in the case of padams, particularly those of
Kshetrajna, even when the sahitya goes too erotic (Pachchai Sringaram)
sometimes even bordering on obscenity and vulgarity though there is a
claim that it is all ‘Antar Bhakti Bahir Sringaram’ as is the case with
Jayadeva’s Ashtapadis. Incidentally, even Jayadeva in one of his sloka
has called work as padams. The titles ‘Gita Govindam’ and ‘Ashtapadi’
have been given by posterity. In the case of Javalis, one can see that the
promiscuity and permissiveness of the erotic theme is in sober limits and
the explanation of Antar Bhakti is not claimed and perhaps not necessary
too. The Nayaka Nayaki bhava in its mundane aspects alone is dealt with
in all javalis. Compared to padams, javalis seem to be lighter ‘Pachchi
Sringaram’.

Coming to the technicalities in the lyric of javalis, we see that the

rule of dvitiyakshara prasam is not strictly followed as in kritis. This
might be because of the fact that many javalis are composed with Pallavi
and charanas only, skipping the AnuPallavi, like the devotional melodies
of Tyagaraja.

Of course, there are quite a few Javalis in Pallavi, anuPallavi,

Charana structure too, observing the dvitiyakshara prasa rule.

~ 58 ~
 Examples:

1. ‘Telise vagalella’ - Bilahari

‘Aliveni nenundaga’

2. ‘Entati Kuluke’ - Kalyani

‘Pantamu gala’
3. ‘Mariyaada Tyeliyane’ - Surati

‘Parihaasamu seya’

The bulk of the better known javalis are in Telugu. Though, it is

claimed that there are many Javalis in Kannada also, these javalis
perhaps remain only in paper and few of them is sung even by artistes
whose mother tongue is Kannada. One popular javali in Kannada is
‘Maataada baaradeno’ (Khamas).

In Tamil, padams are well known, but no author seems to have

deliberately chosen to compose Javalis. But many poets like
Suddhananda Bharati, Nammakal Kavignar, Desiga Vinayakam Pillai
and other contemporary composers have composed lyrics in the Javali
vein. More often than not, their authorship was only for the words and
the tunes were set by various musicians, the flow of music being in the
Javali style.

Example:

“Niddiraiyil vandu nenjil idam konda uttaman avan yaradi tozhi”

(Jhonpuri)

~ 59 ~
 “GˆF¬óJ™ õ‰¶ ªï…C™ Þì‹ ªè£‡ì àˆîñ¡ Üõ¡ ò£ó¯
«î£j” («ü£¡¹K)

Even Subrahmanya Bharati’s songs in the Kannan – Kannamma

series can come into the fold of javalis. By this stretch of imagination
even some of the ‘Nauka Charitra’ songs of Tyagaraja like
‘Srigarinchukoni’ in Surati and ‘Odanu jaripe’ in Saranga and songs
like ‘Chikkavane Ivanu’ of Purandara Dasa are in the javali spirit,
though, the dhatu is comparatively heavier. ‘Kaanta tava Pizha jnaan
endu seiden’ in Atana and ‘Kinnu seivu yaninaho’ in Kalyani are
among well-known songs in Malayalam conforming to javali needs. But,
many of these are called padams by many. Even ‘Telisenura’ in Saveri
is listed under padams, but the Kalapramanam is more akin to that of
Javalis. Another interesting case is ‘Prana sakudu’ in Chenjuritti, which
is sung in slow tempo in four kalais. But these are exceptions, the main
area of difference between padams and javalis remaining the difference
in kala pramanam. There are instances like ‘Kaanta tava’ (Atana),
which are sung in single kalai in music concerts and in double kalai in
dance performances.

There is a characteristic romantic style of language for javalis. This

quality is particularly noticeable in Telugu javalis where even the
languages of the slums are sometimes used for effect.

Example:
“Sarasa Sallapamunaku samayamu kade eme”
‘Eme’ is a word which one may not expect to occur in a kriti.
‘Eme’ is a loose way of addressing a female companion.

~ 60 ~
 Another example would be –

“Taaru maaru lade vemi bhajaari”

Though the music of this Natakuranji javali is very beautiful, it is

not sung often because of vocabulary lacking in decorum.There are also
hybrid javalis in Manipravalam style, employing even English words
like ‘oh my lovely lalana’ is an example.

We can even say that, it is not difficult to identify a javali by

listening to the words employed even when the listener does not know
the language.

Ragas handled in Javalis

Well known Rakti ragas are employed for javalis whose main
purpose is to appeal at first instance. Even among the rakti ragas only,
those, which lend themselves to the javali mood, are widely employed.
No wonder, javalis in Khamas, Kapi and Behag far out-number those in
other ragas and even in these ragas only the flashy side is made use of.

For instance, in ‘Sitapate’ and ‘Sujana Jivana’, Tyagaraja has

employed only upanga raga like Khamas, while in javalis freely
including kakali Nishadam to great effect.

In Bilahari again, in ‘Pariddanamichchite’,

There is a masculine ruggedness noticeable, while in ‘Telise Vaga’

Bilahari with a javali gait is employed.

Instances are not wanting where extreme liberties, disregarding

grammatical constraints, are taken in the music of javalis.

~ 61 ~
 In ‘Parulanna maata nammavaddu’, the stress upon sadharana
gandhara in Kapi is a case in point. Similarly, ‘Apaduruku’ employs
many phrases out of Khamas in the charana ‘Vedukalu chudane’. So is
the case with the charana of ‘Sarasamulaade’ in Kapi. There is one
javali ‘Saaami raadaa yane’ in folk tune the raga of which is not
identifiable at all.

Some javalis have been attempted in ragas like Darbar and

Kedaram where the javali effect is incomplete mainly because of the
unyielding nature of the raga in spite of the lyric. Similar is the plight of
Javalis in Misra Chapu tala.

Examples:
Javalis in Chapu tala

1. ‘Nyayamu Kaadura’ - Ritigaula

2. ‘Charumathi’ - Kanada
3. ‘Idi niku’ - Begada etc.

A good number of javalis have atita eduppu, which is perhaps for

the purpose of highlighting the crispness in the start. It is interesting to
note that the Atita eduppu is employed mostly when the theme of a
javali starts with question.

Examples:

1. ‘Balimiyela’ - Why balimi with him?

2. ‘Elaaradaayane’ - Why is he not coming?
3. ‘Chelinelu’ - How will I bear this?

~ 62 ~
 This Atita eduppu has been employed in Misra chapu Javalis also.
Examples:

1. ‘Nyaayamu kaadura’ (Ritigaula)

2. ‘Charumathi upachaaramu’ (Kanada)
With very few exceptions, javalis in general are in medium tempo.
A few of the javalis like ‘Nimata’ in Purvikalyani, ‘Ipati panikena’ in
Khamas are being sung in both Adi and Misra Chapu talas.

The place of Javalis in the concert platform:

It should be remembered, the concert platform as we understand it

now, is of recent origin and the so-called concert Paddhati or Katcheri
Pantha is of still later origin. The Katcheri Paddhati has taken shape at
the end from a time when commercial usage of music started reigning
supreme. It is a very interesting topic on its own but our present topic
concerns only a portion of it – the Post-Pallavi items. The promoters of
the concert Paddhati have felt like legating the Javalis to the Post-Pallavi
end of the concert perhaps because that was the place for the lighter
items. Another reason might be that, even as in the case of slokas, the
javali for its dramatic impact would need a warmed-up voice, which
cannot be expected in the beginning of a concert.

Also, the Sringara oriented javalis were not given the pride of place
with our older musicians, who wanted to appear fittingly religious and
puritanical. Javalis were also a welcome relief from the serious mood of
the elaborate and laborious Ragam-Tanam-Pallavi of those days.

~ 63 ~
 With the changing times, however, we today need not continue to
give javalis the same casual treatment. Concert duration is becoming
shorter and shorter, and only a small chunk of listeners remain till the
end of the concerts and thus many would miss the Javali lilt, if they were
to be sung only at the end.

Javalis are concentrated, easily assimilated musical tablets, which

deserve to be heard by the multitude. Musicians today who give more
number of concerts than their counterparts of yester years have a
necessity to know more number of songs when the audiences are variety
conscious. Javalis can help a lot in this situation. They are short,
immediately appealing, not compromising too much on classicism and
are thus ideally suited to today’s impatient of scope for niraval and
kalpana svara also and they can well be sung to great effect in the main,
middle portion of the concert.

The complete lyric of a famous Javali and Padam with English

translation is given to make the general reader conversant with the
earthy romanticism in Javalis and Padams. One Javali and a few post-
pallavi items have been sung by the authoress of this thesis in a Compact
Disk for the purpose of familiarising the listeners with the catchiness and
romantic appeal of not only the lyric but the music also.

Javalis will thus ideally fit in the Post-Pallavi stage of a concert,

wherein the artiste is supposed to win over the attention of listeners in a
wholesale measure.

~ 64 ~
PADAMS

The origin of the word ‘Padam’ (ðî‹) as such is obscure. Padams

are used by only a small section of vocalist. The Veena Dhanammal
School Padams are most famous in South India and Kshetrajna (16th to
17th Century) is celebrated as the most famous composer of Padams in
Telugu though there have been other composers in other languages too
including Swathi Thirunal Maharaja in Malayalam. The Veena Dhanam
Padam singing is heavily classical and the only members of her family
specialised in them. The present popularity of padams in the music field
is mostly due to the efforts of Smt. Veena Dhanammal and members of
her family. There are also versions of padams from Andhra Pradesh and
other regions but with style of singing different from that of
Dhanammal’s. But today a state has been reached where connoisseurs of
padams cannot tolerate any other version or even the slightest departure
from Dhanammal’s way of rendering them.

The ladies of the family of one Buchayappa Naidu were reported to

have been well versed in singing padams, although not in public. It is in
their household that Veena Dhanammal is said to have learnt padams
from one Balakrishnadas, a blind musician. It is stated that
Balakrishnadas had learnt them from Veena Gauri Ammal but it is not
clear as to how he got the versions which came down later in the family
of Dhanammal. Veena Dhanammal is said to have begun to give public
performance from her 7th year. Inheritance and acquisition alike placed
before her the highest standards of purity and excellence and moulded
her taste for classical simplicity and elegance, which till the end suffered
no loss. She represented the highest classical tradition in Karnatak
music. Her achievements in padam singing were revealed by her slow

~ 65 ~
and stately style. She perfected the padams in an easy and graceful
manner. She was mature enough to study the exact limits of the
oscillations of gamakas, of the subtle nuances in the occurrence of
sangatis and the use of phrases and embellishments that contributed to
her beautiful rendition. She passed on the same to all members of her
family.

The practice of singing padams continued with Veena

Dhanammal’s daughters and grand daughters. She seems to have taught
Brinda and Mukta also directly, who have in turn done a great service to
our music by their chaste style. They have maintained this great tradition
for over four decades by adhering to a staunch view of following the
patanthara learnt by them and sung in proper style.

KSHETRAGNA
Among the various types of compositions in South Indian Music,
the “Padas” occupy the next place to “Kritis”. These padas are songs
composed in conformity with the canons of Dramaturgy and are of great
utility in the histrionic art. These are appropriately called “Padas”, as
they could be sung in union with the timings and other appertainances of
the temple dance of the Nautch Girls.

The greatest and foremost of the composers of this type of

composition is Kshetragna whose compositions are met with in the most
familiar and popular name “Kshetragna Padas”. He was an Andhra
Trillinga Brahmin. From his boy-hood, he studied his own mother
tongue and attained early proficiency. He was initiated with the mantra
of Lord Sri Krishna by a Maha Yogi. He worshipped the deity at the

~ 66 ~
shrine of Muvva, near Ganta Sala in the Krishna District. He was asked
to repeat the Mantra till he was blessed with the Darsan of the Lord.
Accordingly, he did chant the mantra for days together until Lord
Krishna gave His darsan and blessed him with the wonderful art of
composing Padas, all of which are marked with the name “Muvva
Gopala”. He broke out with the pada on the spot.

It is also said that, Kshetragna composed 5 padas in five ragas

(Pancharatna) with the name “Vijayaraghavanayaka” and without the
name of his God Muvva Gopala. A renowned scholar of Telugu and
musician as he was, he has enriched the field of Karnatak music by his
four thousand and odd padams. But only about thousand are known. He
has employed in his compositions beautiful padagarbhas and sweet
melodies pregnant with Bhava based on the theme “Nayaka and
Nayaki” relationship. The dominating “Rasa” is therefore sringara. The
sringara rasas has for its authority in the Lopamudra – Agastya Samvada
in Rig Veda. According to the theory inunciated in the Bharata Sastra,
every piece of musical composition should confirm to the ruled enjoined
for the characteristic of a Kavya and “sringara” is the only appropriate
to Kavya, in the absence of which it is insipid. Hence the works of
Kshetragna is pre-eminently a true “Kavya”, in the real sense of the
term. The “Sringara Theme” is found to be in strict accordance to the
famous “Alankara Sastra”. (“Amaruka Satakam”)

The prominent feature of the style of Kshetragna is that it fully

satisfies the needs of Sangeeta, in all its three aspects- Geeta, Vadya and
Nirtya. The “Brihadaranayaka Upanishad” mentions two necessary
conditions for music; namely, the sweetness arising form the “Sarira” or
good natural voice and that arising from a strict adherence to the rules of

~ 67 ~
Science of music (the Bhashya of Sri Sankaracharya). Kshetragna’s
compositions are in the strict adherence to the rules of music
compositions and the perfection in melody type is to be had then and
there. The padas characterised by their slow and majestic movement
(Vilambakala), by which they carry the hearers into a region of pure
rhythm and melody.

The Ragabhava is teeming in every song with the formation of

appealing characterstic blendings. Hence the padas are of great use and
importance to South Indian Music. As gems of melodic beauty, they
stand unrivalled. The selection of ragas too is most suitable and
indispensable in giving its full scope for expression of feelings. Most of
the Ragas are Rakthi ragas. The lakshana’s of what are called “Rakthi”
ragas as given in Bharata Sastra is this;

For example: Kshetragna employs Kambhoji (the finest of the Rakti

Ragas), Ananda Bhairavi, Useni and Nadanama Kriya, which are all
Rakti Ragas with an unique skill of its own.

“The words of these padams, couched in the fine Telugu, are often
very beautiful and are full of imagery most poetical, and set to music,
equally plaintive and appealing to the senses”. Therefore, they are best
suited for “Abhinaya” with their irresistible charm of style and wistful
cadence of their tender movements.

The composers of Telugu padams, in imitation of Kshetragna also

include Parimalaranga, Mannaruranga, Yuvaranga, Sarangapani,
Settipatnam Seenayya Gadapallivaru, Bollapuramuvaru, Jadapalla-varu,
Sobhanagiri Varu, Inukonda Varu, Venangivaru, Malli Karju-nudu,
Muvalur Sabhapathi Iyer, Meratur Venkatarama Sastri and others

~ 68 ~
Ghanam Krishnaier, Subbramaier, Muthutandavar, Marimutha Pillai and
Kavi Kunjara Bharathi are the prominent composers of padams in Tamil.

About 30 padams of Kshetragna and Telugu and Tamil padams of

other composers are found in the repertoire of Veena Dhanammal family
and there alone.

Padam and Kshetragna are Synonymous terms because majority of

the famous Padams familiar to South Indian audiences are by
Kshetragna who was a devotee of the deity in an insignificant temple in
the village very near Kuchipudi with the name “Muvva”. This is the
reason why Kshetragna has used the Mudra “Muvva Gopala” in all his
Padams. Padams and Javalis often indulge in Pachi Sringara (too openly
romantic) and that was perhaps the reason why they were not in popular
use with conservative and educated families and only dancing girls and
illiterate families patronised them.

Kshetragna has done yeoman service to the cause of Karnatak

music in his choice of the appropriate raga perfectly suited to the
sentiments and emotional atmosphere of the sahitya. Of the ragams
employed by Kshetragna, Mohanam, Kalyani, Pantuvarali, Shri, Surutti
and Kedaragaula have been used to depict Sambhoga Sringara (love in
union). Some of these have been used to depict Vipralamba Sringara
(separatation).

There are Padams in Tamil also and Ghanam Krishnayyer and

Subharamayyar are the well known names for Tamil Padams, because of
their indulgence in Sringara Rasa, Padams have been popular in the
dance field also.

~ 69 ~
 SARANGAPANI

As a pada karta, Sarangapani deserved praise and recognition like

Kshetragna, whose name has come to be synonymous with Padams.
Sarangapani belonged to the 17th Century and lived in karvetina garam
in Chittoor district. He was the Vidhadhikari (Minister of Education) in
the court of Maharaja Venkata Perumal Raja, who ruled Kaverinagaram.

Sarangapani was proficient in Sanskrit as well as Telugu. He had

the authority to issue Raja Sasanams (Royal orders). He was a poet and
an expert in music and Natya Sastra (incidentally, this reveals the
qualification then expected for a Minister of Educaion).

He was held in high esteem not only by the ruler and the ruled, but
also by contemporary musicians like Govindaswami, the composer of
the famous Pada Varna “Inta Aluka” in raga Natakuranji, who also
adorned the same court at the time. Like Kshetragna, Sarangapani was
also an ardent devotee of Sri Venugopala, the only difference being, if
that can be called a difference, the former worshipped Him at Mova, the
latter at Karverinagaram.

All his compositions bear the venugopala mudra, his “ishtadevata’

of Kaverinagaram, though some have come to be attributed to
Kshetragna inadvertently by substitution of the term “Moova Gopala”
for “Venugopala”. He has dedicated some padams to Sri Kalyan
Venkateswarulu, Chiruthani Chengalvarayudu, Prasanna Venkata Souri
and his ruler Maharaha Venkata Perumal Raja.

Nearly 200 padams of this composer of which “Mogudochi” (in

raga Sahana – Chapu tala) is the best known are available in ancient
fibrous paper. A study of these reveals that these padams can be divided

~ 70 ~
into four catagories: (1) Sringara Padams, (2) Desya Padams, (3)
Janapada Padams, and (4) Vairahya Padams.

While enjoying royal patronage true to the saying ‘rasa bhava

parijnanam’, ‘Desa Sthiteshu Chathuri Asesha Bhasha Vignanam’,
‘Kalasa Sastreshu Kausalam’, “Sringara rasa” is predominant in his
works of that period. To quote a few in raga Jhanjhuti – Triputa tala

“Alukajesi Palukademo, Ye Cheli, Valapumandu Balimo Veladi Vinave

Sri Karvetinagara Nilayudine Venugopaludu”

O woman, hear me, Venugopala who lives in Karvetinagar is angry

and not speaking to me. I wonder which girl’s love-potions power it is!

in Ananda Bhairavi – Adi

“Rammane E, Menu Vani Sommane kougita Cherchu kommane,

Movitene limmane”.

O dear, ask Him to come. Tell Him that his body is his own, Ask
Him to take me into his embrace, and give me honey from his lips.

in Bhairavi – Triputa

Also his padams containing the names of ornaments, towns, trees

etc. prove his versatile knowledge and genius.

Sarangapani also written some humourous padams which contain

popular sayings, “His I see male Harinakshi” (Kalyani – Adi), contains
the names of some ragas. “Avaluganti matala” (Saveri – Triputa)
contains the names of herbs. “Kankanamu Gattinadu” (Gaulipantu –
Adi) contains the name of jewels.

~ 71 ~
 Sarangapani has composed not only in popular ragas like
Anandabhairavi, Kedaragaula, Sankarabharanam, but also in such rare
ragas like Saranga, Thodi, and Karnataka Saranga. He has also
composed padams to suit Natya, according to Bharata Sastra Lakshana
like Kshetragna. He imparted instruction in natya and abhinaya to others
like Govindaswami and trained them as performers. It is learnt that he
himself used to participate and enact the role of a lady to such perfection
that on one occasion the Maharaja and the audiences and his closest
friends could not recognises his feminine role.

Sarangapani’s padams are not as erotic as many of Kshetrayya’s

and are at the most confined to Gauraba sringara. In Andhra even today
we can hear songs given below being sung on auspicious occasions. A
lullaby in Raga Navaroj:

“Lalanuchu vucheru Lalana Limpunanu

Srila Chennaalaru Uyyala Panpunanu”

And a Mangalam in Raga Bhairavi:

Þ‰Fó ó£ñ‚
ó£ñ‚ °, Þýó£ü õóî‚
õóî ‚ °

ñ‰«ó£î£ó‚° ñ£îõ‚
ñ£îõ ‚ °

ï‰îï‰î¬ìò ïõaî «ê£ó‚

«ê£ó ‚ °

è‰î˜ð êî«è£® ² ‰îó‚

‰îó ‚ °

ªüòñƒè÷‹, Gˆò ² ðñƒè÷‹”.

“Indira Ramananuku, Iharaja Varadanuku

Mandaroddharanuku Madhavanuku

~ 72 ~
 Nandanandanudaiya Navaneetha Choranuku

Kandarpa sathakoti Sundaranuku

Jaya Mangalam, Nitya Subha mangalam”.

Tamil Padams in detail

The concept of madura bhakti or the Talaivan-Talaivi concept is

also seen in Tamil works such as Andal's Nachiar Thirumozhi,
Divyaprabandam of other Azhwars, Manickavasagar's Thirukkovai,
Thiruvasagam and other works which stressed that the path of devotion
to Lord and righteous living led on to make one's life worthwhile and
ultimately to attain salvation. The characters Talaivan, Talaivi and Tozhi
stand respectively for the Iraivan Paramatma, Bhaktan Jivatma and the
Guru who leads the Bhakta on to the path of mukti.

The seeds of Bhakti margam that was sown by some of the noble
souls during the 6th Century A. D. germinated into the Bhakti move-
ment in the succeeding centuries. This originated in the Tamil Desam
and spread beyond its boundaries and gave birth to Bhakti isai
(devotional music) in various languages in India. Hundreds of literary
conventions had been entwined around the theme of divine love,
borrowed by poets for expressing the various moods and mental states of
their love for the Almighty. From that time, a padam came to denote a
musical monologue which resembles a kirtana in structure and
propagates the sentiment of love for God through innumerable aspects of
Thalaivan -Thalaivi Kaadhal (love).

~ 73 ~
 In his book ‘Musical Tradition of Tamil Nadu’, M. Arunachalam
clearly states that the father of the particular type of poetry - Tamil
Padam, is Muthuthandavar (1525 - 1625 AD). 24 of his padams are
available in print and notation. Papavinasa Mudaliar (1650 - 1725) lived
just after Muthuthandavar and is popular for his Nindastuti padams. The
tradition of Muthuthandavar was followed by Marimutha Pillai (1712-
1787 AD) who was also popular for his Nindastuti style, Kavi Kunjara
Bharati (1810-1896 AD) and later by Vaideeswarankoil Subbarama Iyer
(latter part of the 19th Century) and Ghanam Krishna Iyer, who lived
during King Amarasimha's period (1787-1798) and a host of other Tamil
padam composers who emulated their predecessors and their padams.

Muthuthandavar and Marimutha Pillai sang in praise of Lord Shiva.

Subbarama Iyer and a few others sang on Lord Muruga and some others
on various deities and patrons. What was a social art earlier developed
into a temple art in the times of the Chola kings who fostered the art by
giving liberal grants. Three distinct classes of artists, though from the
same family, were responsible for the development of music and dance -
the dancer called the Thallipendu in the Chola inscription, the
Nattuvanar or the dance master, the Melakkarar or the Nadaswara
vidwan. The custodians of the two arts - music and dance - in the
Sangam period virtually disappeared from the Pandya naadu and were
reborn as the Thallipendu and Melakkarar in the Chola Nadu. Thus they
evolved themselves into what we now call Melakkarar or Nadaswara
vidwans. After this transition in name and form and the place of
performance, Tamil Isai has been developing continuously through the
centuries down to 20th Century.

~ 74 ~
“The Father of Tamil Padams”

Muthuthandavar was born in Sirkazhi, also the birthplace of

Thirugnanasambandar, and belonged to the family of musicians
described above. He sang in praise of Lord Nataraja, influenced by his
study of Thiruvasagam. Thandavar's padams have been popular from the
latter half of the 17th Century. He has composed 14 padams addressed by
the Thalaivi to the Thalaivan, 6 to the comrade or Thozhar, 3 padams by
the Thozhar to the Thalaivi and is a Yesal padam (scolding). There is
one more padam which makes a reference to his receiving golden coins
from Lord Nataraja on the golden steps leading to the Chitsabhai. Yesal
padam is a song imparting the motive of ridicule or parihasam of the
deity referring to some of the legends in the puranas. This padam is in
Saurashtra raga - Thirumutho Pandalin Keezh. It is not in kirtana form
but is couched in four couplets. In each couplet, the lovesick maiden
asks a question to her mother in the first part to which her mother replies
in the second part. "Oh mother! Who is this person proceeding here
under a pearl canopy worshipped by Lord Brahma and other celestials?"
Her mother replies: "This is your Lord Nataraja dancing in the
perambalam for the Bhaktha doing penance." Muthuthandavar's Yesal
padam is probably a unique specimen. Padams are sung in the latter half
of concerts as the voice would have become mellow by that time.

Noted composers in Tamil padams:

Muthuthandavar
Papavinasa Mudaliar
Marimutha Pillai
Kavi Kunjara Bharathi

~ 75 ~
Madura Kavi
Mambazha Kavi
Ghanam Krishna Iyer
Vasudeva Kavi
Rama Bharathi
Vaideeswarankoil Subbarama Iyer
Rama Kavi
Shenbagamannar
Sabhapathi Mudaliar
Mazhavai Chidambara Bharathi

MUTHUTANDAVAR

Considering the number of beautiful songs in Tamil composed by

Muthuthandavar, there are not many important landmarks in his life, as
in the case of Gopalakrishna Bharathi of Tyagaraja, to mention a few
vaggeyajaras. The only major event in his life deals with the divine
inspiration he is said to have received as one afflicted with leprosy and
discarded by his relatives for his association with a woman in the service
of the temple as Sirkazhi.

It is of significance to note that Muthuthandavar was born some 350

years ago before the world of Karnatak music was enriched by the music
Trinity. But it must also be remembered that Tamil pans were in vogue
from earlier times. One significant aspect of Muthuthandavar’s life is
that he does not seem to have a musical lineage to explain the brilliance
of his compositions. Whatever merit they posses, would appear to be
blessed by the divine vision and directive, he is stated to have received
when locked up within the precincts of the temple in hunger and disease.

~ 76 ~
 That event was the turning point in his life, though worship and
godliness were a part of the daily routine of many in those days. His
musical instincts, perhaps, drew him closer to the women engaged in the
temple for service and Thandavar, as he was then called, spent the best
part of his day listening to Sivanama Kirtanas sung by that woman. This
no doubt invited the hostility of his relatives to such an extent as to
excommunicate him as it were, and drive him into the arms of privation.

One such day, with gnawing hunger on one side and the growing
disease on the other, he lost himself in worship at the temple for long,
seated in a corner. The authorities not noticing his presence inside
locked the temple for the night. His pinching hunger shook him from his
trance and finding himself locked inside, he raised his hands in appeal to
the one and only benefactor to all those neglected by his fellowmen.

The Goddess of the temple it is said, in the guise of the ten year old
daughter of the temple with a food in her hand, appearing before him,
asked him why he looked despondent. He told her of his relatives
neglect, his own afflicition and his hunger. She served him food from
the bowl, and emboldened, he asked the girl what could cure his disease.
Her directive to go to Thillaiyampathi and worship the Cosmic Dancer
through music, raised doubts in him about his capacity to sing or
compose. But, he was assured that Sri Nataraja would bless him if he
started singing with the first word that he heard from those worshiping
the Lord and the girl disappeared. He then realised that the girl he had
spoken to was none other than the Divine Mother. Since that day he
came to be called Muthuthandavar.

That vision and spiritual drove him to Thillai. He worshiped Sri

Nataraja with deep devotion sharpening his ears for the first few words

~ 77 ~
uttered by the devotees. “Bhooloka Lailasagiri Chidam-baram” struck
his ears as he stood worshiping the deity and as per the directive of the
Divine Mother in the disguise of the ten year-old priest’s daughter, he
burst in the song “Bhooloka Kailasagiri Chidambaramallaar
Bhuvanathil Verum Undo” – Ì«ô£è ¬èô£êAK Cî‹ðóñ™ô£˜
¹õùˆF™ «õÁ‹ à‡«ì£ (Bhavapriya, Misra Jampa Tala).

There was no doubt in his mind then that he was divine-blessed, for
how else could he have all of a sudden, attained the competence to
compose a song. As soon as he finished the song he found five gold
coins before him and Muthuthandavar, overwhelmed with joy, felt that it
was part of Sri Nataraja’s grace. Gradually he was also cured of the
disease.

Song after song in praise of Koothapiran flowed from his great,

with deity, strangely, not a single word was uttered by any of the
devotees present. He was perplexed. Hitherto he had been inspired by
the first words of a worshiper and that was divine command. What was
he to do when none spoke a word? He thought and outcome a song
beginning with “Pesade Nenjame” - «ðê£«î ªï…ê«ñ (In Surya-
kantam ragas Misra Jampa tala), reflecting the mood of the devotees
which he took for the uttering’s of the first word. On another day, when
he was on his way to Chidambaram from Sirkazhi, there was flood in the
river Coleroon. He then sang the famous song “Kannaamal Veenile
Kaalam Kazhitthome” - è‡í‹ñ£œ iQ«ô è£ô‹ èNˆ«î£«ñ (in
Kambhoji). Gradually, the flood subsided enabling him to cross the
river, when he burst into another piece, “Darisanam Seivene” - îKêù‹
ªêŒ«õ«ù(Vasanta, Adi tala) and on actually worshiping the deity he

~ 78 ~
sang another piece, “Kandapin Kan Kulirnden” - è‡ìH¡
°O˜‰«î¡.

Another of his famous song “Arumarudoru Tani Marundidu

Ambalathil Kandene” - ܼñ¼‰ªî£¼ îQ ñ¼‰F¶ Ü‹ðôˆF™
臫ì«ù (Kamboji, Rupaka Tala) is reported to have been composed
when he was bitten by a snake. From the day he came out of the temple
fed by the Divine Mother, he lost himself in the enjoyment of the beauty,
grace, benefaction of the Sosmic Dancer and all his experience took
shape in the form of songs, which to-day, from part of concerts of
Vidwans. His ideal of existence is exemplified in his last song
“Maanikka Vachagar perenakku Tharavallayo Ariyen” - ñ£E‚è
õ£êè˜ «ðªóù‚° îóõ™ô£«ò£ ÜP«ò¡ (Kokilapriya, Rupaka Tala).
He died on Avani Thingal Pusa day.

Some 60 songs and 25 padas composed by Muthuthandavar have

been published. “Teruvil Varano” - (ªî¼M™ õ£ó£«ù£), the Khamas
raga padam set to Rupaka Tala, is one of his famous compositions. The
beauty of his compositions lies in the simplicity of diction and a direct
expression of ecstatic experience. Even as there is a complaint that as
some of Tyagaraja’s songs have been changed the raga and pataantara
stance, the famous piece, “Sevikka Vendum Ayya” – («êM‚è «õ‡´‹
ÜŒò£) familiar in the raga Andolika is rendered by some in Abhogi.
Similarly the song “Ambara Chidam-baram” – (Ü‹ðó Cî‹ðó‹) is
handled by some in Surati and by a few others in Rishabapriya
“Kaanammal Veenile” - (è‡í‹ñ£œ iQ«ô) again is sung by many
in Kambhoji and one book gives the raga for the Kirtana as Dhanyasi.

In spite of the different versions, which is only to be expected of

songs not written down at the time composing, they are rich in their
~ 79 ~
devotional content and musical excellence lending themselves to the
demands of platform artists.

MARIMUTHA PILLAI

Marimutha Pillai was one of the great Tamil composers of the 18th
century and was a contemporary of Arunachala Kavi. He was the son of
Theivangal Perumal Pillai, a Saiva Vellala, who lived a simple life at
Thillai Vidanagam, a village situated to the north-east of Chidambaram.
Marimutha Pillai was brought up in an atmosphere of piety and devotion
from his childhood. He was initiated into the sacred lore and his daily
rituals consisted in offering prayers to Tillai Nataraja, through his songs.
Thus, the gift of composing songs in Tamil came as a great boon to this
young devotee.

Marimutha pillai had an early marriage and was blessed with three
sons. The eldest son who was also named Theivangal Perumal Pillai and
the youngest son, Kumaraswami, were great scholars in Tamil. Even at
the age of 19, this Theivangal Perumal Pillai began to compose songs.
He used to offer his daily prayers to Umayammai at Chidambaram. In a
few months, he brought out a prabandha of songs called “Umayaval
Malai” – (àñòõœ ñ£¬ô). He was so deeply immersed in bhakti that
he stood aloof from all worldly pleasures. In due course, he left his
house.Marimutha Pillai was very much worried over his eldest son’s
behaviour he prayed to Tillai Nataraja to cure his son of his malady. One
day, after his night prayers, he had a nap on the verandah of the temple.
He had a dream in which Sri Nataraja appeared before him and said that
his son would come to senses if he would compose a prabandha in praise

~ 80 ~
of Thillaiyampathi. He woke up from his dream and decided to carry out
the divine command. After his morning anushtanams, he hurried to the
temple, prayed devoutly and composed and completed the “Puliyur
Venba” – (¹LΘ ªõ‡ð£).

On completion of this prabandha, he found to his great surprise that

his son was miraculously cured of his aberration. This incident is
referred to in one of his compositions wherein are found the following
lines:

‘Iyan sabai nadan anabi pulisai venba

Sei yenru inidhu uraikka cheppinen-mei yenru

Pattil Pilai irundal parthu periyorgal

Katti thirutha kadan’

‘ÜŒò¡ ê¬ð ï£î¡ Ü¡¬ð ¹LªêŒ ªõ‡ð£

ªêŒ â¡Á ÞQ¶ à¬ó‚è

à¬ó‚è ªêŠH«ù¡-
ªêŠH«ù¡ - ªñŒ â¡Á

𣆮™ H¬ö Þ¼‰î£™ 𣘈¶ ªðK«ò£˜èœ

裆® F¼ˆî èì¡’

Very soon his scholarship came to be appreciated by everyone and

his songs were popularised by people who began to sing them during
their daily worship. This encouraged him to compose many more
prabandhas.

Special mention may be made of his brilliant works such as

“Cidambaresvar Virali Vidu Thuthu”, “Varunapuri Aadimulesar
Kuravanji”, “Aadimulesar Natakam”, “Anedhi Natakam”, “Puliyor

~ 81 ~
Sringaravelar Padikam”, “Radha Bandham”, “Raga Bandham”, and
different kinds of varnas. He also composed 50 songs in praise of “Sri
Nataraja”.

Besides these he composed several stray pieces. Among the 50

kirtanas and other bhakti rasa, only 25 are available. He passed away in
1787 April.

His compositions are in good Tamil, filled with devotion. Some of

them are in the Nindastuti style. In the phrases “Vidum Ambalamgi
nirum Andhara manir” he uses Andal bhakti and bahir sarcasm. In the
following phrases:

‘umaipol attai eduthu ambalathil nirppar

Oruvaraiyum kaanen ayya’

‘enneramum oru kaalai thookkikondu

Irukkira vagai edayya’

‘Ambalathadal nadippadenbathai ummidathil arithenayya’

à¬ñŠ«ð£™ ܬî Ü‹ðôˆF™ GŸð£˜

‘à¬ñŠ«ð£™

å¼õ¬ó»‹ è£«í¡ ÜŒò£’

‘≫ïóº‹ å¼ è£¬ô É‚
É‚ A ‚ ªè£‡´

Þ¼‚
Þ¼‚ Aø õ¬è ã¬îò£’

‘Ü‹ðôˆî£ì™ ﮊªð¡ð¬î à‹IìˆF™ ÜP‰«îùŒò£’

It is seen that anyone who is an ardent devotee of the Lord and who
is also a composer, can take such liberties with his ‘Ishta Devata”.

~ 82 ~
 The songs of Marimutha Pillai are long and are tacked with many
charanams, every charana presenting a new idea. It is because of this
that the same tune is adopted for every charana of his songs and no
boredom is experienced. The rules of musical prosody are aptly and
suitably adopted and in every song the Kshetra mudra “Tillai” is used,
consistent with the desire of the Lord that a prabandha in praise of
Chidambaram should be composed. Words descriptive of the tall
gopurams of Chidambaram temple are used.

Thillai is given various other names such as “Then Kailasam”,

“Ponnambalam”, “Natesar vazhum Pundarikapuram”, “Bhuloka
Kailasam” and “Puliyor”.

In one of the popular songs “Orukkal siva Chidambaram”, in

Arabhi raga Aditala Marimutha Pillai emphasis that in to get salvation
and be free from Bhavabhandam, it is enough if one utters Siva
Chidambaram once. In the song “Kaalai Thookki Ninraadum
Theivame”, set in Yadukulakambhoji raga adi tala, celestial beings like
Nandi and Narada are associated with musical instruments like the yazh
and the maddalam.

The Surutti raga song “Edukku ithanai modi than unakku endan
melayya” set in Rupaka tala, the author appeals to Sri Nataraja that he
should not be accused of using only two, and run sarcastic language. In
the charanas, which are more than two, and run about eight avatars,
several interrogations in the nindastuti style are used. The following
sentences in his songs “Pallaikkatti Muppurathar munnae ninrathu”,
“Pennaipidi Yudambagi”, “Kuravar vittil punnkondathu” and
“Prambadi pattathu” relate to stories from Siva Purana.

~ 83 ~
 In the song “Pala Mandirathirkkum Palamandiram, Ponnambala
Mandiram Ennum Mandirame” the sahitya figures of yamakam or
madaakku is illustrated where in one and the same similar sounding
phrase gives an altogether different meaning. The phrase “mandiram” is
used as antyaprasa throughout the song at the end of reach avarta.

The songs, which treat for antar bhakti expressed in sarcastic

language, are profusely used in dance music for portraying abhinaya,
especially at the far end of the dance performance.

The songs of Marimutha Pillai, thus may be compared in their

bhakti rasa with the padas of Purandaradasa in Kannada.

KAVIKUNJARA BHARATHI

The famous author of the “Skandapurana Keertanas” (vè‰î

¹ó£í W˜ˆî¬ùèœ) flourished in the beginning of the 19th Century. He
was born in Perunkarai a village in the Ramnad District, in the month of
October 1810 and his father was one Subramanya Bharathi. His
ancestors learned in Vedas and Sastras came from the Tirunelveli
District, two Centureis ago and settled in the village Perunkarai which
was given as gift to them by the then Raja of Ramnad, Hiranya Garbha
Thirumalai Setupati.

His father, a scholar in Sanskrit and Tamil, gave his son early
education in both the languages and by the time when our young
Bharathi was 12, he attained skill in composing poetry and also
possessed a fair knowledge of music. He also came into close contact
with Madura Kavi Bharathi, a well known composer of ‘Pada Sahitya’

~ 84 ~
who showing him a parental affection taught him music. While yet in his
teens he began to compose Padas and Keertanas which he also sang
beautifully. But he utilised this divine gift in composing songs verses
and prabandams in the praise of his household deities “Lord
Subramanya” and “Sri Meenakshi Sundareswara” instead of flattering
mortals for the sake of earning wealth. This was quite befitting his
sincere devotion and saintliness. He also held occasional Bhajanas and
festivals in his house and feasted the audience with his melodious and
devotional music.

His compositions became very popular and the Raja of Sivaganga

by name Gowri Vallaba invited him and honoured him with the title
“Kavi Kunjaram” (èM °…êó‹) in admiration of his talents in poesy
and music. At one time, the Maharaja went on a hunting expedition and
bravely killed a tiger which was 16 ft length and Bharathi in
commemoration of the brave act composed “Vengai Kummi” («õƒ¬è
°‹I) and a village called “Kottakkachi Yendal” (ªè£†ì‚è„C
ǘ䔪) was made over him as a gift.

Thinking of composing the “Skanda Purana” in Keertana from, he

went to his native to engage in his work in peace and seclusion. He
began the work in the year 1865 and finished the same in 5 years. After
finishing the work, his devotion strengthened and his mind earned after
salvation. So he did not like once again to taste the pleasures of court
life. So he lived a life of self contentment and sincere devotion, spending
his time in worships, bhajana, aradhana and religious discourses.

His nephew and Son-in-law, by name Atma Nada Bhagavatar of

Aludayar Koil, was a sangita Vidwan and he did great service in
popularising the Keertanas in South India. Besides the “Skandapurana
~ 85 ~
Keertanas”, Bharathi has composed many Padas and Prabandams
which unlike those of his predecessors were highly lyrical in style. They
are (1) Azhagar Kuravanji, (2) Rajanagar Pal, (3) Perinba Keertanas
and Padas.

Though his compositions exhibit the features of Arunachala

Kavirayar’s yet they strike the hearers with a fresh vigour, elegancy and
individual melody. In fact , Arunachala Kavirayar’s and Gopalakrishna
Bharathi’s compositions deserve to be classes in Tamil lyrical literature
for they are composed in chaste, flawless, simple Tamil but vehement in
sense and set to music of a high order.

In his padas, the best of his, one can easily recognise his
scholarship in Tamil and Sanskrit and proficiency in music chastened by
his deep rooted piety, the ‘rasas’ or sentiments are beautifully displayed
by him. Really, his padas equal in greatness like the padas of
Kshetragna.

The ragas employed by him are all familiar ones, except those
Apoorva ragas like Navaroz, Kannada, Yamuna Kalyani, Hamir
Kalyani, Bangala, Manji and Gowlipantu. The talas are mostly the
common ones. His works have been published by his grandson Sri.
Kotiswara Iyer, a living composer, poet and musician.

MAZHAVAI CHIDAMBARA BHARATI

Mazhavaryanendal also known as Mazhavai and Bhuvaneka

Pandiapuram is a small village in Ramnad district, about a mile distant
from Triuppachetti, a station on the Madura-Manamadura line. The

~ 86 ~
village is situated on the western bank of the Vaigai River and on the
opposite eastern side is Vembathur, the birth place of “Sledaipuli Pichu
Iyer” noted Tamil scholar and poet.

Mazhavai Chidambara Bharathi, popularly known as Chinnaswamy

Bharathi was the second of four brothers. His elder brother Mazhavai
Subbarama Iyer was a Sal avadhani who gave a performance before the
Raja of Pudukkotai, Ramachandra Tondaiman and was amply rewarded
with presents and honours. Chidambara Bharathi was a Contemporary of
Kavikunjara Bharathi, another famous composer who has given us
“Kandapurana Kirthanangal”.

Chidambara Bharathi’s compositions include individual pieces in

praise of various deities, collected is one volume, called “Perinba
Keerthanaigal” on puranic themes such as Rukmini Kalyanam, Druva
Charitram, Kuchela Upakyanam, Ambarisha Charitram, etc.

His major works is “Periya Purana Keerthanai” dealing with the

life stories of the Nayanmars. Only a portion of the work was published
by Ramanna and the other portion is still in manuscript form. He has
given us two “Kummies”, one Madurai Meenakshi and other of the
Brihadambal of Tirugokaranam (Pudukkottai) and quite number of
Jawalis and Padams, one of which “Nanaenevinen” has been widely
known by the gramophone record by S.G. Kittappa, who chose this
piece for its swinging lilt, jingling words and a fine tempo, which came
out well with his gifted voice.

Purana Charitrams and Peria Puranam are done in the manner

suited for Harikatha Kalakshepem. The author has strewn here and there

~ 87 ~
a lot of musical forms introduced by the Thanjavur Marathe School like
Sakti, Dendee, Arya and Abang.

Some of his well known compositions are “Karunai Thantennai

Alamma” (輬í ù Ý÷‹ñ£) in Begada, “Karunai
Purindu Rakshikanam” (è¼¬í ¹K‰¶ ó†V‚èù‹) in Kapi, “Ma
Mayura Meedil Eari Va” (ñ£ ñÎó eF™ ãK õ£) in Bilahari, “Mangala
Subavarade”(ñƒèô ²ðõó«î), “Ezhundal Paradevi” (⿉
ðó«îM) in Kamboji, and “Sri Vadarba Nagaravasi” (ÿ õî˜ð
ïèóõ£C) in Poorvi Kalyani.

Among the Nayanmar Charitrams, that of Somayaji is outstanding.

His capacity for using panns and his manner of bringing out any number
of meanings out of a single word are clearly demonstrated in that work.
Siva appears as untouchable before Somayaji and others performing
Somayaga, humming a temmangu “Thannane Thannane Thandam
Thanana”.

But of the simple words common to an ordinary villager, he could

bring out symbolic and philosophic meanings. Than Nane (I am self);
Thanane (give me it no other but me); Than Arru (when self ceases to
exit); Than Nattu (it is that which we seek and desire) and so on. These
interpretations are natural and are not brought out by any violent
splitting of words simply for sake of getting new meanings.

He shines best in his “Kummies” (°‹Ièœ). All possible types of

metres to facilitate a good variety of movements are handled with ease.
These Kummies are a class by themselves and outstanding in that genre.

~ 88 ~
GHANAM KRISHNA IYER

Ghanam Krishna Iyer, the famous singer of Madhyama Kala and

the greatest composer of Tamil Padas (îI› ðîƒèœ), was one of those
great Sangita Vidwans who by dint of their own endeavour attained
everlasting fame. As he came to possess an unrivalled skill in the
“Ghana” method of singing, he was honoured with the title “Ghanam”.
There were only a few persons, in his time in South India who were
acquainted with that “Ghana Marga”. It was “Ghanam” (èí‹)
Krishnaiyer who attained perfect mastery in that method by virtue of his
unflinching practice.

Krishnaiyer hailed from a place called Peria Thirukkunram, in the

taluk of Udyarpalayam, Trichy District. He was a smartha Brahmin of
the “Ashtasahasram” sect. His father was Ramaswamy Iyer who was, by
heredity, a scholar in music and Tamil and was patronised by Muthiah
Moopanar of Kapisthalam on whom he has composed many Keertanas.

There was one great man, Sri Ramadass who was the State Vidwan
under Amarasimha and well versed in Hindustani music. He was the
first guru of Gopala Krishna Bharathi, the illustrious author of the
“Nandanar Charitram” (ï‰îù£˜ êKˆó‹). When Ghanam Krishnaiyer
was staying at Tiruvidaimarudur, Bharathi was learning Hindustani
music under Ramadass. Bharathi also seems to have learnt many
carnatic tunes from Ghanam Krishnaiyer. Many songs have been sung in
praise of Amarasimha by Krishnaiyer. There are also many devotional
ones on Sri Mahalinga moorthi the presiding deity at Madhajarjunam
and one of them is “Maruthappa” – (ñ¼îŠð£) in Ananda Bhairavi
Raga, which is similar in tune to “Murugaiyane Pannirukaiyane” –

~ 89 ~
(º¼¬èò«ù ð‡E¼¬èò«ù) by his brother Subbarama Iyer and
“Iyaramiga Oiyara” – (Þòø£Iè åŒò£ó£) by Anayya brothers.

Many of the rich landlords and relatives of Krishnaiyer invited him

to their native places as Kumbakonam, Udayalur, Tirupazhanam,
Tiruvarur, Swamimalai, Mannargudi, Trichy Srirangam etc., on these
occasions, he sang several kritis and padas on the deities of those places
and many on his well wishers and patrons. He has also sung many
Keertanas on his “Ishta Devata” Subramanya among which “Velare
Ummaithedi” («õô«ó à‹¬ñˆ«î®) in Bhairavi in popular one. Thus
during his travels, his great abilities in ‘Sangita and Sahitya’ won for
him a wide-spread fame. Musicians and other people began to realise the
real merit of the “Ghanam” style. Some of them at first due jealously
began to speak of his music as mere noise. But when they heard him
face to face, they were thoroughly convinced of his real greatness and
began to admire him ardently.

Ghanam Krishnaiyer’s life is a notable one, as it is wholly made up

of interesting musical anecdotes and experiences which have come down
to us. It was through him that the ‘Ghana’ method of singing attained
popularity in South India which is indebted to him for his splendid
compositions in that new style. As such, he is given a prominent place
among the musician composers of South India.

His compositions are all replete with Ragabhava and will be

remembered by posterity forever. The themes of most of his Kritis are
based on “Sringara” bhava. Inspite of the grammatical errors in the
language of his keertanas, they are unique for their musical excellence. It
is but proper that measures should be taken for the popularisation of his
compositions, especially, when there is a general outcry for the revival
~ 90 ~
of Tamil compositions which are to be given predominance in the
musical concerts.

The keertanas that are familiar are “Parengum Paartalum”

(ð£ªóƒ°‹ 𣘈‹) in raga Kayani, “Parimala Natha” (ðKñ÷
ï£î£) in raga Darbar, and “Summa suma sugam” in raga Atana. The
Bhairavi Piece “Jagatjanani Sukhapani” (üèˆüùm ²èð£Q) is now
popular in a different mould.

PADAMS – in dance concerts:

PADAM - a broad spaced item in dance concert for the complete

exhibition of dancer's depth of interpretation of abhinaya and his/her
maturity in dance.

Padam bestows aesthetic pleasure on the listener with good

exposition of melodic structure of raga finely blended with verbal
structures of lyrics. More often episodes are woven round the
mythological God Krishna (other deities not excluded), on human kings
to please whom the lyrics has been composed.

Padams set in Vilambita Laya (slow tempo) accordingly where

dancers render padams which excel in its purpose.

Aspects to be remembered during padam performance are:

1. Kavyartha - idea conveyed by composition entirely.

2. Vakyartha - meaning of each line.
3. Padartha - meaning of each word.

~ 91 ~
 Most of the padams have been composed in “Vipralamba
Sringara” (separation of love) as the rasanubhava is more than in
“Samboga Sringara” (union of love). "Na Vina Vipralambena
Sringaraha Pushtim Ashnute" means without separation the romantic
sentiment does not develop.

That is how most of Kshetrayya padams are in sringara rasa and he

is well called the Sringara Kavi. Padams of Kshetragna occupy the top
place in this genre. Apart from less known Telugu composers, there have
been some in Tamil too. Doyens like Maharajapuram Vishvanatha Iyer
was known for captivating rendering of Tamil Padams like “Paarengum
Paarthaalum” in Raga Kalyani.

Because of their heavy classicism in its music, Padams should

normally be not allotted the Post-Pallavi status. But the lyrics of the
Padams are so openly romantic and that is perhaps the reason why they
have been classed Post-Pallavi items.

Example: Vadiga Gopaluni – Mohanam – Adi

Pallavi

Vadiga Gopaluni Vaddha Jeramani

Prayamela Vacchena Vanuguthsuna

Anupallavi

Pada kinnti Kika Povalene Nannu Vadhdha

Vedu dhalachi Verachene

~ 92 ~
 Charanam - 1

Patta Pagalu Onnti Padina Samayamuna

Paitalo cheyi Vesenee

Etuloorthu nani Kettida Kemmovi

Engili chesene Nijamugaane

Charanam - 2

Aadadha Nanu Natho Aadaraani

Maatalaadi Navva Konene

Yedaadigaa Nannu Veedi Ecchaka

Mada Emeemo Chesene Mudamutona

Charanam - 3

Kaliki Gopaludu Karamulu Battuga

Varuva Ippi Vesene Cheliya

Rathiri Vadu Chesina Ratsalu

Jeppa Siggaiyane Nijamugaane

Meaning of this Padam: I am of that vulnerable age to crave for

nearness of that Gopala though; I am hesitant in wording out my
emotions. I am afraid of going to the bed room because of severe
experience that I had last night. In broad day light, when I was alone at

~ 93 ~
home he places his hands up on my upper cloth what all he did to me
last night is a over thrilling experience which, I am afraid of speaking
about.

TILLANAS

“Veena Venu Mrudanga” is a Sanskrit term finding a place among

ancient literatures. This confirms the antiquity of mrudanga on par with
veena and flute. Mrudanga is a percussion instrument supposed to
enhance vocal or instrumental music by enhancing rhythmic appeal. The
rhythmic or solfas of mrudangam can be orally pronounced with some
effect of their own. The Tillanas are supposed to exploit this situation by
employing mrudangam solfas in catching musical phrases. Tillana is one
of the short, crisp and liveliest musical forms, which had its birth in the
18th Century. This form became popular because of its brisk and
attractive music. This form has the sections Pallavi, Anupallavi and
Charana and each section has different dhatus. Usually, the Pallavi and
Anupallavi consist of jatis only and charana contains, in addition to jatis,
sahitya and solfa syllables of percussive passages. Maha Vaidyanatha
Iyer is said to have composed a Tillana in Simhanandana tala in Kanada
raga and that the entire composition is in two avartas only, the first and
second avarta containing words and jatis respectively. The language
chosen in many of the Tillanas is Sanskrit, Telugu or Tamil.

Tillanas with their sparkle of Mrudangam solfas have their own

appeal with all levels of listeners and the earliest names of Tillana
composers have been Patnam Subramaniya Iyer, Poochi Srinivasa
Iyenger, Veena Sheshanna and Harikeshanallur Muthaiah Bhagavatar.
Tillanas have attained a new high status from the middle of 20th Century
~ 94 ~
with inevitable composers like Padmabhushan Lalgudi Jayaraman and
Padma Vibhushan Balamuralikrishna. Tillanas of their style are
inspiring many other new entrances in the field and Tillanas have found
entry into the film music also making their future assured.

Tillanas are compositions with Pallavi-Anupallavi-Charanam

structure employing the Mrudangam solfas for major part and literary
Sahityam only in parts of the Charana. Perhaps because of the minimum
usage of the Sahityam, this alone can raise the classical seriousness of
any composition. Tillanas have been relegated to the Post-Pallavi part of
the concert. But Tillanas have always enjoyed some patronage or other
and they can be said to have attained a new high status in the Tillanas of
Padma Bhushan Lalgudi Shri Jayaraman. His Tillanas have for the first
time reached unprecedented heights of intelligence in combining laya
nuances of very high order with lilting music. These Tillanas have made
all Tillanas of previous generation sound pedestrian. There have been
request to some vocalist from the audience for rendering of two Tillanas
of Lalgudi Jayaraman in one and the same concert.

Padma Vibhushan M. Balamuralikrishna, whose compositions are

avidly learnt by vocalist and eagerly asked for by audiences, Lalgudi
Jayaraman has shown the world that wonders can be worked with
Tillanas and bright future for this prominent Post-Pallavi item is assured.
Tillanas are popular in dance concerts also and their future is thus
brightened further.

One Tillana which has become popular in recent times is ‘Gita

dhurniki taka’ (Dhanasri raga) in Hindi by Svati Tirunal. Some of the
well-known composers of Tillanas are Patnam Subramanya Iyer,
Puchchi Srinivasa Iyengar, Veena Seshanna, Ponnaiah Pillai and

~ 95 ~
Muttaiah Bhagavatar. Ponnaiah Pillai and his illustrious brothers have
also composed great Tillanas meant for dance concerts.

These senior composers chose rich Ghana ragas like Sankara-

bharanam, Todi etc., or traditional rakti ragas like Chenjurutti, Pharaj,
Kanada, and Mohanam etc. In spite of such ragas the Tillanas were and
are always sung only in the latter part of the concerts, be it music or
dance. The reason might be that the predominance given to sollukattus
in Tillana has made it less serious than a kriti where the lyric could
contribute as much as the music for the classical weight of the piece.
Also, the scopes for sangatis with a classical tint are more natural in a
kriti where some of the sangatis can even be lyric-oriented. This does
not mean that the kritis have no sollukattus at all. There are indeed great
Dikshitar kritis like ‘Ananda Natana’ -Ýù‰î ïìù‹ (Kedaram) ‘Sri
Maha Ganapati’ – ÿ ñý£ èíðF (Goula) with sollukottus in
addition to Chittasvarams. But the sollukattu portion of it is minor. Nor
it is correct to say that Tillanas do not accommodate sangatis. Some of
the well known Tillanas like ‘Dirana tana dhimta’ (Chenjuruti), ‘Nadru
dhim dhim’ (Sankarabharanam) have a good number of effective
sangatis but in the Pallavi. The kritis, particularly Tyagaraja’s style, can
accommo-date sangatis in any part of the composition.

Some scholars say that Tillanas are common to music and dance
concerts. Some even say it is mainly a dance item. These views need
some examination and clarification. It is true that Tillanas find a very
important part in the dance concert and they are popular in the music
concerts also. But invariably these two Tillanas are not identical and
very few Tillanas find a place in both the concerts. Even in such tillanas,
the ganakrama or the method of rendering is not one and the same. The

~ 96 ~
first line and some of the other lines are usually repeated many number
of times, not necessarily with as many sangatis, in a dance concert. This
is necessitated for the purpose of interpreting the rhythmic structure of
each line of the Tillanas in various varieties of footwork – dance
sangatis as it were – and other manifestations of the dance. But in a
music concert, no single line is repeated more than twice unless there are
sangatis.

Tillanas are compositions of comparatively recent origin. Some of

the modern composers have incorporated a lot of sophistication to this
genre. Lalgudi Shri Jayaraman has given Tillanas an enhanced status,
improving over the earlier composers in all aspects. Particularly, the
rhythmic structures of Lalgudi’s Tillanas are arithmetically of a near
perfect finish almost every time. Also, the widely prevalent diverse
between technical exercises and melodic beauty has found solace and
solution in such Tillanas where highly intelligent and complex varieties
of rhythmic patterns are couched in lilting music and it would call for a
very highly accomplished musician to render these Tillanas to full
justice.

Another greatness of these tillanas is that they are able to arrest the
attention of all types of listeners alike even when played on the violin, of
course at their best only by the composer himself. Many of the aspects
of talas, which are mentioned in books but are very rarely put into
practice like Srotovaha Yati, Gopuchcha Yati and such other
embellishments are found splashed in the Tillanas of the earlier
generation look and sound rather tame and pedestrian.

Examples of Gopuchcha yati pattern found in Lalgudi Jayaraman’s

tillanas:

~ 97 ~
 1. “Taka dhimta dhim” – Desh raga – Adi Tala

Taka Tarikita Jham rmrpmgr

Tarikata jham rmpns

Kita jham ndp

2. “Dhim tana Dhim Tajanuta” – Behag raga

Taka diku tari kita jham Dhim ta Dhim

Taka tari kita jham Dhim ta Dhim

Tari kita jham Dhim ta

Examples of Srotovaha yati found in the Tillana of Lalgudi

Jayaraman:

“Taka dhim tadhim” – Desh Raga

Taka janu taka dhim

Kita taka janu taka dhim

Tari kita taka janu taka (Taka dhimta)

Only a practical demonstration can give examples of all the

rhythmic and other beauties enshrined in these Tillanas and any amount
of writing cannot adequately express and same. Another great
achievement of Lalgudi Jayaraman is that many of his Tillanas are in
comparatively less handled Desi ragas like Dvijavanti, Brindavanai,
Desh, Bagesri, Mohana Kalyani etc. A special mention must be made of
a Tillana in Pahadi raga, which would leave a maestro among

~ 98 ~
Hindustani musicians baffled and humbled. Not all composers are
resourceful enough to compose so richly that too a Tillana, in those
ragas.
Another composer of Tillanas of unusually high calibre of today is
Dr. M. Balamuralikrishna whose compositions have had notable impact
among the learners and listeners. Many, however, opine that these
Tillanas, though sparkling and spectacular with virtuosity are not on
solid enough classical base. Whatever the old timers may say, the fact
remains that these two modern composers have raised Tillanas to a
higher pedestal and they will remain unsurpassed for a long time to
come. The appeal of these Tillanas with the listeners is so intense that
the audience often demanded more than one Tillana to be sung in a
concert, a happening unheard of and unbelievable in yester years. Even
the Gramophone companies have come forward to release long playing
disc records of Tillanas only. A remarkable achievement indeed!

It is claimed that the Tarana is the counterpart of Tillana. Here too,

the similarities are only on a limited range. Both the Tillana and Tarana
employ the sollukattus of the Mridangam and Tabla respectively. But as
in many other aspects here too Karnatak music is on a much more solid
ground and the Taranas have a long way to go before gaining the
fullness and wholeness as a composition as such.

Example: Tillana- Ragesri – Adi – Lalgudi Jayaraman

PALLAVI

Dhimta taratāni dhiranā dru’ dru’

Tanana jhanuta dhim jhanuta dhim jhanuta (Dhimta)

~ 99 ~
 ANU PALLAVI

Na dru’ dru’ tani jhamta tom dru’ dru’ tāni jhamta

Tanana dhim tanadhim tana dhiranā

Talāngu dhittalāngu dhim Tanana dhittalāngu dhittit

Talāngu dhim Tanana dhittittalāngu dhim dhim dhim talāngu

(Dhimta)

CHARANAM

I Vela nanu kāvumu natana catura

Ni vāda mahādeva s’iva s’āmbava

Nivegāni verevaru leru nā

Jivādāra s’ankara gangādhara

Tarikita jham mdgmD dhimitakajham

rnsD takita jham mrs

Tatām tadhim tajham tanam tarita dhim tananananana dhim

rsnsgm rsnsgm rsns gmrs nsgm rsns dhim ta

nanananana dhimtadhim tananananana dhimtadhim tananananana

(dhimta)

Tillanas have thus come to stay as an attractive item towards end of

a concert. Javalies and Tillanas are used more widely in dance
performances and their popularity in the arts field is thus ensured.

~ 100 ~
RAGAMALIKA

The Ragamalika is a type of composition that has continued to

occupy a prominent place in the concert repertoire. Like most other
compositions Ragamalikas also had a fluctuating level of popularity. In
the bygone decades, which saw the checkered career of the concert
platform, the history of the concert format as we see today is one of
hardly a century. There is no evidence of the existence of a format
Sangeetha Sabha in 19th or earlier Centuries. This does not mean that
there was no music at all in the earlier centuries. Music was very much
being sung and heard in temples and for small congregations in places
and other aristocratic venues. The history of the formative years of the
formal concert platform seems to have coincided with the birth and
growth of veterans like Ariyakkudi Ramanuja Iyengar. Ariyakkudi is
credited with the formation and propagation of the concert Paddhati but
Soolamangalam Vaidyanatha Bhavatar (1870-1930) in his book of
biographies of his contemporary luminaries has mentioned Poochi
Srinivasa Iyengar as the originator of the concert planning. This has
been corroborated in the book of Poochi Srinivasa Iyengar’s
compositions published by Salem Chellem Iyengar. The concert formula
has since been reigning supreme and blind adherence to it even
threatening to become a bane in the music scene today. One need not be
a great genius to conceive and execute the concert planning in which
even the junior most artistes are adepts today. The planning starts with
very easy steps like avoiding two items in a concert in closely related
ragas or choosing songs in a variety of Talas and rhythms. Judicious
representation of composers is another avoidable obsession with the
contemporary performers. The fundamental thrust in the concert
planning is on providing as much variety as possible. Modern
~ 101 ~
performers and listeners are so much unduly obsessed with adherence to
concert planning often at the cost of music itself. Press reviewers
mention the concert planning as a special merit or decry the lack of it. If
the anxiety to provide variety is carried on to high levels there is an urge
to show it not only in the choice of various items but also within one
item and thus was born the Ragamalikas in which the composers
themselves seemed to have revelled. Such a tendency has existed
strongly even in the Pre-Trinity era. Muthuswamy Dikshitar’s father was
considered a monarch among composers of Ragamaliks. He went some
steps ahead by choosing to compose Raga tala malikas too. The longest
musical composition ever is the 128 Ragatalamalika composed by
Rama-swamy Dikshitar.

Ragamalikas have engaged the attention of composers of all levels

including film music directors. Giving characteristic shades of a number
(small or big) of popular ragas in quick succession in one and the same
composition had an attraction of its own by titillating the curiosity of a
mixed audiences and this quality was particularly suited to film music
also. Ragamalikas drew attention of composers even from days of
Muthuswamy Dikshitar. An additional level of expertise of the
composers is exhibited in Ragamalikas with Raga Mudra and crisp
Chittaswarams in one order and in reverse order. Muthuswamy Dikshitar
himself has left the music world with classical examples of all these
intricacies.

Muthuswamy Dikshitar is famous for intelligent incorporation of

Ragamudras and he has employed it diligently even in Ragamalikas. The
famous Chaturadasa Ragamalika “Sri Viswanatham” has raga mudra in
all the fourteen ragas and Dikshitar could accomplish this within the

~ 102 ~
core length of the lyric of just a single aavarta. It would be difficult to
believe today that the ragamalika mania existed wven in the film music.
Over half a century ago, M. K. Tyagaraja Bhagavathar and a female
counterpart have alternated a son in the film ‘Siva Kavi’ – (Cõ èM),
which was not only a ragamalika but also one with Ragamudraas. It
started in Raga Vasanta with the lyric-

Vasanta Rity man mohaname

Gmdns DM mgM dmD.......

The last stanza in this mentions Surutti in the lyric.

Surutti Konarndu Koduttu aluttaar polave

Sollukku panjamillai

Ragamalikas are compositions sung with Talam and Mrudangam

accompaniment often in Pre-Pallavi stage of a music concert. Some such
Ragamalikas have made history with their size and length. Maha
Vaidhyanatha Iyer has composed a Ragamalika of all the 72 Melakartha
Ragams in the order Kanakangi, Ratnangi, Ganamurti etc., with Raga
Mudra and Swara Sahitya. This Ragamalika is not a piece intended to be
sung in any part of a music concert because a complete rendition of this
marathon piece will itself consume some hours and any class of listeners
will not have the leisure and patience to sit through such a rendition. But
there are other Ragamalikas which will fit in well in any part of the
concert with their rich catchiness and variety. Swati Tirunal’s “Nitya
Kalyani” enjoyed a popularity of its own for some decades and the more
recent Ragamalika “Bhavayami Raghuramam” made famous by
Semmangudi Srinivasa Iyer was a “must” in almost all music concerts

~ 103 ~
for some time. Another popular Ragamalika in Tamil is “Enakku un
irupadam ninaikka” (âù‚° à¡ Þ¼ðî‹ G¬ù‚è).

Ragamalikas have contined to be favourites with film music makers

and many of them like “Ellaam Inbamayam” (â™ô£‹ Þ¡ðñò‹) of
those days and “Chinnan Chirukiliye” (C¡ù…CÁ AO«ò) of the
recent past have proved big hits. The shrewd professional in Ariyakkudi
Ramanuja Iyengar did not let the opportunity go and he profited
considerably by singing a Ragamalika Pallavi.

“Sankarabharananai Azhaittodi Vaadi Kalyani Darbarukku”

(êƒèó£ðóí¬ù ܬöˆ«î£® õ£® è™ò£E î˜ð£¼‚°)

Though this Pallavi was comparatively pedestrian both in lyric and

technical intricacies it still clicked well with the neo-rich listeners of
those days and Ariyakkudi reaped all the benefits. He employed
ragamalikas in Kalpana swaras for the Pallavi. This was again carried to
extreme lengths by Madurai Mani Iyer who would seem to have
launched on a Pallavi only for the purpose of singing elaborate kalpana
swarams on popular ragas and win the applause of laymen. He went
further and did not shun annexing ragamalika swarams even in kritis like
“Kaanakkan Kodi” (è£ù‚è‡ «è£®) in raga Kambhoji. Another area
where ragamalika was and is in full operation is slokams and viruttams.
There have been artistes who became stars mainly because of their
expertise in singing viruttams S. G. Kittappa’s

1. “Kodaiyile elaippaatri kollum vagai kidaitta taruve”

(«è£¬ìJ«ô Þ¬÷Šð£ŸP ªè£œÀ‹ õ¬è A¬ìˆî õ) in
Pantuvarali, Kapi, Neelambari, Madhyamavati is of legendary fame.

~ 104 ~
 So was K. B. Sundarambal whose

2. “Gnanappazhattai Pizhindu” (ë£ùŠðöˆ¬î HN‰¶) was on

the lips of the common man and made them flock to her concerts
unmindful of the classical level of her singing.

If these two can be named as belonging to the theatre and not the
concert hall we have had performers on the classical music platform also
who made name through ragamalikas. “Sri Chakra Raja
Simhaasanesveri” (ÿê‚ó ó£ü C‹ý£ê«ùvõK) was one ragamalika
for which Late Maharajapuram Santhanam was famous. He and Madurai
Somasundaram, particularly the latter had a big stock of ragamalikas
changing ragas at every line of the song often with Ragamudra to boot.

Many other composers of various levels of calibre have composed

Ragamalikas which were made famous by the star performers of various
ages. In most cases the composers name never became known though
audiences avidly asked for this Ragamalikas. Examples of this variety
are “Sonadhaisaidida” (ªê£¡ù¬î ªêŒFì), “Kannanai
Kanbadeppo” (è‡í¬ù 裇ðªîŠ«ð£), “Velan Varuvanodi”
(«õô¡ õ¼õ£«ù£®), and “Cindai Arindu Vadi” (C‰¬î ÜP‰¶
õ£®) etc., are immortally famous by the great G. N. Balasubramanyam
who also made Ragamalikas comprising of the verses composed by
Subramanya Bharathiyar like “Dikku Teriyada Katil” (F‚°ˆ ªîKò£î
裆®™) is equally famous. The demand for Ragamalikas is sure to
continue as long as the composers of the film field keep their interest in
offering film hits in that variety of composition.

Apart from Ragamalika set to Talams, Slokams and Viruthams

sung in a set of ragas are also called Ragamalika. Such Ragamalikas

~ 105 ~
were most popular items in the days of Maha Vaidhyanatha Iyer who is
set to have mesmerised the listeners with Tamil saivaite hymns after four
hours long renditions of other items and Pallavi. Crisp Ragamalikas sung
for a shorter duration have come to stay till today. Some of the artistes
with cinematic and dramatic background have made a very big name for
the renditions of Ragamalikas in Tamil language. Ariyakkudi Ramanuja
Iyengar made a Ragamalika Pallavi famous. This Raga Mudhra
Ragamalika Pallavi had the lyric “Sankarabharananai Azhaithodivadi
Kalyani Dharbarukku” and was very popular for sometimes. The late
Madurai Mani Iyer sang Ragamalika Kalpanai Swarams Pallavis in
every concert and made it a piece de resistance.

The first requisite for singing a slokam effectively is to know the

meaning of the lyric thoroughly. Raga alapana employs the meaningless
syllables tad a ri na but slokam singing must employ the meaningful
syllables of the lyric. Flights of alapana must be judiciously incorporated
with the help of the elongated vowels available in the lyric. Viruttams
often contain moving lyric of high emotional, sentimental and
philosophical to be moved immensely the philosophical content. The
elderly persons among the audience are sure to be moved immensely if
the vocalist sings the viruttams in a manner highlighting the
philosophical content. A small dose of drama too has a place while
dwelling on a viruttam of catchy and appealing lyric. An effective
technique that would enhance the impact and appeal of slokam of
viruttam or ugabhoga is the one called “Kondu Kutti” in which the
vocalist arranges and rearranges the words in an impactful portion of the
viruttam in a particular manner as to heighten the effect on the listeners.

~ 106 ~
 One folly that a slokam singer should avoid is to employ music that
would split apart meaningful phrases of the viruttam into meaningless
parts. To avoid this, the singer should not only know the meaning
thoroughly but also be emotionally attached to the matter covered in the
lyric. Even leading vidwans sometimes indulge in elaborate raga alapana
in the midst of slokams, reducing their status as mere launching pads for
showing of their skill in elaborating ragas. On the other hand intelligent
teachers would initiate young students into the world of raga alapana
through the singing of slokas. Slokas and Viruttams usually have themes
of devotion and surrender to the Lord and the vehemence with which
svarams and korvais are sung is not called for in slokams. Singing a
slokam or viruttam with feeling will indeed help the young students to
grow into better human beings of sobriety and balance of mind. A lyric
sung in a chain of ragas is called Slokam if it is in Sanskrit, Viruttam in
Tamil, Ugabhoga in Kannada and padyas in Telugu. Some of these
lyrics lend themselves to be sung either in a chain of ragas or as a
ragamalika sung with tala. Great composer like Adi Sankara has given
us top class lyric in Sanskrit with a built-in rhythm. “Mudaakaraatta
Modaka” Adi Sankara’s Ganesa Pancharatnam, for instance will settle
beautifully in Tisra Nadai with atita eduppu to boot. So is the “Sarada
Ashtakam” which anchors beautifully in Khanda Chapu and atita
eduppu. His Meenakshi Pancharatnam fits perfectly into khanda eka tala,
chatusra nadai. When there is the choice of singing these verses either as
a chain of ragas or as a song with tala, a sensitive musician would
always prefer the former for its evocativeness, while the latter too can be
the choice for group singing. Irrespective of what language the lyric is
in, the vocalist has the primordial responsibility of knowing the meaning
of the lyric thoroughly. Even in kritis there is always a difference

~ 107 ~
between the renderings of an artiste with thorough knowledge of the
sahityam and another without it. This has infact given room for
Patanatara Bhedam of many famous kritis. Learning the meaning of a
small stretch of slokam or viruttam should be within the reach of any
person of moderate education and intelligence but unfortunately
majority of our musicians who spend so much time and energy in
memorising the sahityam fail to foot a small amount of additional effort
in knowing the meaning of the sahityam. Indian languages have lot of
words with the same meaning and thus it is possible to impress even
listeners of other mother tongues if only the singer has a proper grip over
the lyric that he sings. The dasakuta composers alone have left behind
stupendous volumes of compositions in numbers touching a million. A
majority of them exist only in words without any fixed tune. These
compositions come in handy for contemporary tunesmiths who revel in
setting the words to tunes more often as ragamalikas comprising of ultra
modern ragas even when the lyrics are some centuries old. Most of these
songs fit in well in the Post-Pallavi portion of a concert. Many of our
great musicians of yesteryears were in fact famous because of the
popular appeal of some of their Post-Pallavi items.

“Maangaay paalundu” – (ñ£ƒè£Œ 𣽇´) for Ariyakkudi

Ramanuja Iyengar, “Velan Varuvaarodi” – ( «õô¡ õ¼õ£«ó£®),
“Kannanai Kaanbadeppo” – (è‡í¬ù 裇ðªîŠ«ð£) for G.N.
Balasubramanyam, “Vellai Taamarai” – (ªõœ¬÷ˆî£ñ¬ó), “Kandan
Karunai” - (è‰î¡ 輬í) and “English Note” for Madurai Mani
Iyer are some of the few instances that can be cited in this connection.
The Post-Pallavi items were the virtual forte for any many famous
musicians of those days.

~ 108 ~
 Ragamalikas are thus ideal venues for showering variety, which is
welcome to listeners. Variety in quick succession is sure to sustain
listener’s interest and thus ragamalikas have been attempted in every
type of compositions right form varnams to Mangalam. Patnam
Subramanya Iyer’s “Valachi Vachchi” is among the more famous
ragamalika Varnams. In this varnam Patnam Subramanya Iyer would
seem to have deliberately attempted to choose closely allied ragas one
after another and still establish the identity of each raga within the short
space of one or two avartas. He has chosen Sankarabharanam
immediately after Kedaram and Kalyani immediately after
Sankarabharanam Yadukula Kambhoji following Kambhoji, Bilahari
alongwith Mohana etc. He can be said to have achieved considerable
success in this attempt in all pairs except the two Kambhojis.
Ragamalika in mangalam is very rare but Uttukkadu Venkata Subbayyar
has come to our rescue. He has given us a very lively mangalam in
ragamalika with voluminous lyric for which he is famous.

Ragamalika is thus encompassing a very wide compass. It would be

practical to put those under two categories, the Pre-Pallavi and the Post-
Pallavi varieties. The latter naturally is of a light classical or light vein
while the former would live up to the norms expected in classical pieces.
Unless otherwise said a kriti is supposed to have three important sections
called Pallavi – Anupallavi and Charanam and many ragamalika follow
this pattern. Because of the necessity of having to present a variety of
ragas in which succession ragamalikas usually have Chittaaswarams.

The portrayal of raga in svarams will be a more concrete and easily

recognisable presentation and chittaswarams serve a very important
purpose in ragamalikas. Another common feature is to cover all the

~ 109 ~
ragas in reverse order at the end of ragamalikas. Famous ragamalikas
like ‘Bhavayami’, “Nitya Kalyani”, “Aarabhimaanam”, and
“Pannagendra Sayana” follow this pattern.

Dikshitar’s Chaturdasa ragamalika occupies a special exalted place

among ragamalikas. The popular version of it sung without
chittaswaram and the process of going through ragas in reverse order is
done with sahityam itself. Dikshitar has performed the marvel of quick-
silver change of ragas within half avartam. The other three ragamalikas
of Dikshitar are varying formats, of course, all of them with the unique
classical weight expected of the one and only Muthuswamy Dikshitar.
Because of their classical weight such ragamalikas have proved popular
and prestigious Pre-Pallavi items.

His ‘Simhasanasthite’ is popular among dancers too. There is rich

material among ragamalikas of Post-Pallavi variety also. Though the
dhatu of many of them is not so religiously standardised like the Pre-
Pallavi variety, Bharatiyar’s catchy lyric and Purandaradasa’s
Devarnamas besides the creations of many contemporary composers are
freely employed as mathu. Because of the light nature of the tune these
ragamalikas enjoy a ready response from the listeners. An innovative
mind can employ ragamalika in National songs too and there are some
not only as ragamalikas but also as ragatalamalika with gatibhedam too
to boot. Some give room even for kalpana svaras.

The peak point for the creative ability of Karnatic musician is the
Ragam-Tanam-Pallavi and ragamalikas are incorporated in these items
also with all the more of freedom and variety. The earliest attempt in this
direction must have been the “Sankarabharananai Azhathodi Vaadi
Kalyani Darbaarukku” a ragamudra malika Pallavi pupularised by

~ 110 ~
Ariyakkudi Ramanuja Iyengar and Sattur A.G. Subramanyam.
Appending a chain of Kalpana svarams in the various ragas has also
been there all song. A subsequent development was to round off the
Kalpana Svaram passage covering all the ragas in reverse order. Late
Madurai Mani Iyer used to sing lilting kalpana svaras in various catchy
ragas and revert to the original raga, while singing the Pallavi at the end
of each bout of ragamalika svaram. Another method is to sing the Pallavi
format also in the various ragas and these calls for more expertise in the
artiste who must be able to fit the Pallavi format in different ragas
convincingly in quick succession. Some artistes start the ragamalika
chain with a short niraval too in every raga. An even more adventurous
effort would be to sing Trikalam and gati bhedam also in different ragas
followed by Kalpana Svaram in the respective raga. Incorporation of
Ragamalika in Pallavi has been carried to further heights by slightly
modifying the lyric and accommodating the raga mudra too. Only
artistes with a high level of command in raga and laya can attempt all
this. To a creative mind sky is the limit for embellishing Pallavis and
ragamalikas are eminent constituents in this exercise.

Here is an example for Ragamalika “Ranganatha panchakam”, a

composition by Uttukkadu Venkata Subbaiyar.

Swiyathara Bhasakara - Ragamalika - Adi - Uttukkadu Venkata Subbaiyar

Ragam - Punnagavarali

Swiyathara Bhasakara Chandamani

Yuktha Panamanditha Bujanga Sayanam

Megavara Vaasaka Suvarna Giri Sowbaka

~ 111 ~
Paraabavama Nadha Ruchiram

Leena Kara Chanda Buvanathraya mudhaakara

Suchim Athiga Booshanakaram

Nowmi Bhagavantha Mukhamantha Hasanantha madi

Sundarama nantha sayanam.

Ragam - Sankarabharanam

Roopamava bothamadhi noothana Manogyamathanam

Bhuvana mangalakaram

Varithi Sudhakara Suthakara Sukaadura

Sumaadura Sushilanapadam

Boothamaha daadoyam Alankritha Kalebra

Makanta karunaalaya mukam

Nowmi bagavanthamuka mantha Hasanantha madi

Sudhara mananthasayanam

Ragam - Nadhanaamakriya

Raachara Charaachara Paradhika Duraamukrithi

Radhi Patubeekarathanum

Naraadha varaadhinutha neeradha nibakora

~ 112 ~
Manoradha sumaathurapadam

Natdayutha geetha parvedha ninadhanaka

Sanaadhana janadhi kavrutham

Nowmi bagavanthamuka mantha Hasanantha madi

Sundara mananthasayanam

Ragam - Sriragam

Hema makutathi katakaabarana kangana

Samujvala manoha rathanum

Geetha natanaadaya kalavtha sudhamrutha

Niranjan sumangalakaram

Bhagavatha Rama charithaamala dureena vacha

Naadhi paripoorithakaram

Nowmi bagavanthamuka mantha Hasanantha madi

Sundara mananthasayanam

This composition exposes the beauty of Ranganatha in sayanam and

also stands as a perfect Post-Pallavi item because it is a lullaby song
which fits well in the final part of the concert.

~ 113 ~