CONTENT
T
he COVID-19 lockdown left us with so much time in our hands. It was
during this time that I decided to start my Instagram
page.
The
love
and
encouragement that I received from wellwishers, family, and friends made me dive deeper into my passion, and thus Vaak was born. In Carnatic music, there is a term that is used for composers: vaakgeyakara. A vaakgeyakara is one who creates both the Vaak (lyrical) and Geya (musical) aspects of a composition. The word Vaak means “that which is being said”. The abstract meaning of this word makes it the perfect name to describe a magazine that is meant to discuss and promote this nuanced art form. Our ancient Tamil poetess has said that to have a good mind one should have a good vaak. Vani, the goddess of all art forms dwells in our vaak. I hope and pray that she manifests herself in this VAAK as well. It is fascinating to think about how one line in the Sangeetha Sampradaya Pradarshini has led to the development of the article ”A rendezvous and a varna” by Ravi Rajagopal. The article describes the grandeur of the meeting that took place between the two trinity composers: Shyama Sastri & Muthuswamy
Dikshitar. It was this article that allowed me to envision that scene and further
kindled my imagination to digitally represent it through a line drawing. Dr. Aravindh TR‘s article “A journey of the raga Hindolam” beautifully brings together the past and the present and takes us through a journey in time. He explains the changes the raga has had in three different periods: pre trinity, trinity, and post trinity. We have also put together interactive sections in this edition with the motive to connect with you all. Please provide your feedback as that will be instrumental in the progress and evolution of Vaak.
Shreeraam Shankar
carnaticmusic@gmail.com
VAAK
PAGE 3
SUN
MON
TUE 1
WED
Kontegadu – Suruti
2
Thillai Isanai – Kambhoji
7
6
Sri Venugopala – Kurinji
8
Saraguna Palimpa – Kedara Gowla
Tavadasoham – Punnagavarali
13
Mumurtulu – Atana
14
15
RTP – Kapi
16
Soundararajam Asraye – Brindavana Saranga
21
20
Vadika Gopaluni – Mohanam
Chala Kallala – Aarabhi
22
Sarasiruhanana – Mukhari
27
Upacharamu – Bhairavi
23
Tolijanma – Bilahari
Sujanajeevana – Kamas
28
29
Sogasuga – Sriranjini
T Brinda Madurai Mani Iyer T Viswanathan M L Vasanthakumari Ariyakudi Ramanuja Iyengar S Balachander Musiri Subramania Iyer M S Subbulakshmi Papa K S Venkatramaiah Radha & Jayalakshmi M D Ramanathan
12 13 14 15 16 17 18 19 11
Palani Subramaniam Pillai Ramnad Krishnan D K Pattammal T R Mahalingal Maharajapuram Viswanatha Iyer G N Balasubramaniam Semmangudi Srinivasa Iyer, M S Subbulakshmi & K S Narayanaswamy D K Jayaraman M Balamuralikrishna
30
Giripai – Sahana
Sloka – Ragamalika
01 02 03 04 05 06 07 08 09 10 11
Nadopasana – Begada
9
21 22 23 24 25 26 27 28 29 30
Veenai Dhanammal T K Rangachari Alathur Brothers Lalgudi Jayaraman Srirangam Gopalarathnam Voleti Venkateshwarulu T N Rajaratnam Pillai T Balasaraswati S Kalyanaraman Palladam Sanjeevana Rao
VAAK
PAGE 4
THU 3
FRI 4
RTP – Manirangu
SAT 5
Vazhi Marai – Nattaikurinji
10
Muruga Muruga – Saveri
Elavathara – Mukhari
11
12
Thani Avarthanam
19
Muthuswamy dikshitar’s compositions – LecDem
Samajavaragamana – Hindolam
17
RTP – Kalyani
18
Dakshinamurthe – Shankarabharanam
24
Deva Sri – Madhyamavathi
25
Chakkani Raja – Karaharapriya
26
Kshitija – Devagandhari
Picture Credits: Nirupa Rao
VAAK A RENDEZVOUS AND THE VARNA
PAGE 6 Picture taken at VD Swami’s House
PROLOGUE have
the cognoscenti rasikas, musical jam sessions during
together in combinations.
break from work or on weekends is de rigueur, wherein the participants meet and take turns in singing
compositions,
alapanas,
neravals,
svaraprastaras etc to their heart’s content. It is certainly a way to enjoy music by singing to one’s heart’s content. Such a session would acquire novelty if the participants were leading musicians of an era! We do have one such recording of a session held at the country residence of Industrialist and patron V D Svami wherein a galaxy of musicians including the Alathoor
Brothers,
Musiri
Subramanya
performed
impromptu,
In the modern world of music, especially amongst
individually
and
And one wonders if there were musical sessions or a musical rendezvous with the musical greats of an era long bygone taking part, from our past. And luckily, we have one such instance, documented in the Sangita Sampradaya Pradarshini (SSP) the magnum opus authored by Subbarama Dikshita who was the adopted son and natural grandson of Balasvami Dikshita, a brother of Muthusvami Dikshita. The Trinitarian.
Iyer,
This article is all about that musical rendezvous
Semmangudi Srinivasa Iyer, M S Subbulakshmi,
which took place perhaps during the first quarter of
D K Pattammal, K V Narayanasvami et al seem to
the 19th century.
Picture courtesy: Sir Roderick Glossop youtube channel
VAAK A RENDEZVOUS AND THE VARNA
PAGE 7
MUTHUSVAMI DIKSHITA’S TANJORE SOJOURN Tanjore was known once upon a time as the Eden of
been at Chennapatna during this period.
South India. But during the period of 1785-1799 AD it
This being so reigning sovereign of Tanjore, Prince
was roiled by famine and political turmoil. The
Amarasimha of the Mahraatta Royal House of
resulting
and
Bhosales who was in the gaddi as a Regent of the
musicians leave Tanjore for safer & greener pastures.
minor Prince Serfoji was deposed by the British, who
Many left for Chennapatna or Madras, which was an
took matters into their hands and installed Serfoji II
oasis being under the direct control and rule of the
as the King of Tanjore in AD 1799. And thus, with AD
British East India Company. Ramasvami Dikshita the
1800, dawned a new era in the history of Tanjore. And
father of Muthusvmai Dikshita too along with his
the first quarter of the new century was marked by
family migrated to Chennapatna to be under the
the return of peace and stability which in turn
benevolent patronage of Manali Cinnayya Mudaliar, a
spawned the return of musicians and performers of
Dubash of a senior ranking British East India Co
art back to the Tanjore Kingdom. Ramasvami
Official. A number of other musical greats of those
Dikshita too returned with his family, taking Tiruvarur
times
and
as his residence. And as Muthusvami Dikshita his
Srinivasayya too moved to Chennapatna. This is
eldest son blossomed forth, his sisyas, the Tanjore
decadence
including
made
Pallavi
many
artisans
Doraisamayya
vividly catalogued in Sanskrit works dating to
Quartet
being
Ponnayya,
Chinnayya,
that period such as “Sarva Deva
Sivanandam & Vadivelu become the
Vilasa”. The Dean of the musical
AstAna vidvAns of the Tanjore
corps of theTanjore Court,
Court of King Serfoji.
the Guru Sreshta Sonti Venkatasubbaya too is recorded as having
Illustration of King Serfoji II of Tanjore Picture courtesy: Bangalore International Centre
VAAK A RENDEZVOUS AND THE VARNA
PAGE 8
Chinnayya
Ponnayya
Sivanandam
Vadivelu
It was then that the Quartet fervently requested their
which Dikshita so composed the kritis in rAgAnga
Guru to visit and stay with them for a while in
rAgas include Lord Brihadeesvara and Goddess
Tanjore. And Dikshita too did so sometime, during
Brihannayaki, Lord Narasimha, Goddess Balambika
the first decade or the first quarter of the 19th
the consort of Lord Sankaranarayana, Lord Prasanna
Century. It was during this time, as Dikshita’s
Venkatesvara and Goddess Anandavalli consort of
biographers recount, that the Quartet earnestly
Lord Tanjapureesvara all of whom can be found in
requested him to compose kritis in every one of the
and around Tanjore.
rAgAnga rAgAs listed out in the Anubandha to the Caturdandi Prakasika, which we today rightly or
Thus, the Tanjore sojourn of Dikshita marked a
wrongly refer to as the Asampurna Melas Scheme.
musical milestone as he embarked on this project to
The biography of Muthusvami Dikshita as profiled by
invest every rAgAnga rAga with a kriti as an
Justice T L Venkatarama Iyer and Dr. V Raghavan,
exemplar. And during this sojourn as stated earlier
record this sojourn to Tanjore and Dikshita’s project
he was hosted by his disciples the Tanjore Quartet
to thus compose a kriti in every rAgAnga raga. As
which must have lasted for atleast a few years.
evidence of the same, the perusal of the SSP itself would show that the kritis of Dikshita in many of the
And it was perhaps during this sojourn or one of his
rAgAnga rAgas, will be found composed on the
subsequent visits to Tanjore that Dikshita, met with
principal deities of the temples in and around
the other great co-Trinitarian, Syama Sastri, which for
Tanjore. Prominent examples of such dieties on
us becomes another milestone, of the musical variety.
Picture courtesy: sahityakalp
VAAK A RENDEZVOUS AND THE VARNA
PAGE 9
THE RENDEZVOUS The senior most of our Trinitarians, Syama Sastri born
sections, three or five appended to the carana refrain.
in AD 1762 and more than 12 years older to Dikshita
This piece was thus incomplete having just one
was already a permanent resident of Tanjore having
ettugada svara line. It must have been that
firmly settled there, near the Bangaru Kamakshi
Ramasvami Dikshita died leaving the composition
Temple. In so far as Dikshita’s visit to see his senior
incomplete.
contemporary goes, when he visited Tanjore, we do not know the exact circumstances or the details of
Upon hearing about this part-done varna Syama
the interactions as between the two Trinitarians etc.
Sastri’s curiosity must have been aroused and at his
Yet in the SSP, as a foot note to a composition
bidding one of the Dikshita scions must have sung
therein, Subbarama Dikshita provides a single line
the incomplete composition for his benefit. And what
narrative of perhaps one such meeting between the
would become a singularly great moment in our
two great vaggeyakaras.
musical history, Syama Sastri must have then suggested that the varna should be completed as
One can surmise that it must have been possibly one
between them. And so, he went on to perform the
evening, Muthusvami Dikshita must have paid a visit
honours and composed the 2nd ettugada svara
to pay his respects to his senior contemporary and
section and then bade Cinnasvami Dikshita to
possibly perform some compositions as well. He was
compose the 3rd and finally Muthusvami Dikshita to
accompanied by his brothers Cinnasvami for sure
compose the 4th and final ettuagada svara section to
and Balasvami as well perhaps. It is well likely that
the carana of the varna and thus completing the
Syama
half-finished composition of Ramasvami Dikshita in
Sastri
Dikshita’s
must
father
have
known
Ramasvami
Muthusvami
Dikshita
and
his
one stroke. It should be noted that the three not only
proficiency as a vaggeyakara as well. And so most
composed the svara section but also composed the
probably from that angle, the conversation between
corresponding sahitya as well, so as to segue
the two Trinitarians must have veered to the musical
seamlessly with the carana refrain which goes as
compositions of Ramasvami Dikshita.
“Ata-pAta-la-dhAti”. And what a sight and an aural feast it must have been to those fortunate few, who
Muthusvami Dikshita must have then proceeded to
might
confide
to
Syama
Sastri
about
a
have
witnessed
the
composition
being
half-finished
completed and perhaps Syama Sastri, Muthusvami
composition of Ramasvami Dikshita, a cauka varna in
Dikshita and Cinnasvami Dikshita taking turns to
the raga Sriranjani starting “sAmi ninnE kOri”, which
sing and ensure that the composition was lyrically &
was left incomplete with just the pallavi, anupallavi
musically complete. All we can surmise is that it
and the carana refrain with just one ettugada svara
must have been a performance fit for the celestials!
section. Varnas as a rule had multiple ettugada svara
Background picture: Entrance to Syama Sastri’s house where the meeting could have taken place Courtesy: kaminidandapani.typepad.com
VAAK PAGE 10
A RENDEZVOUS AND THE VARNA
Background picture: Entrance to Syama Sastri’s house where the meeting could have taken place Courtesy: kaminidandapani.typepad.com
VAAK A RENDEZVOUS AND THE VARNA
PAGE 11
Muttusvami Diksita
Syama Sastri
Cinnasvami Diksita
In this cauka varna, both the anupallavi muktayi svara section as well as the 4 carana ettugada svara sections have been invested with sahitya as well. All of this recorded history is wrapped in that cryptic one line foot note to the Sriranjani raga cauka varna of Ramasvami Dikshita “sAmi ninne kOri� in Adi tala, in the SSP recorded by Subbarama Dikshita which just runs thus:
In these carana svaras, the second, third, and fourth svaras were composed respectively by Syama Sastri, Cinnasvami Diksita and Muttusvami Diksita.
Picture: An illustration by Shreeraam Shankar of Shyama Sastri, Cinnasvami Diksita and Muttusvami Diksita Composing svaras for the Varna
VAAK A RENDEZVOUS AND THE VARNA
PAGE 12
And thus, lies this novel composition in the SSP, as a
Subbarama Dikshita in his Vaggeyakara Caritamu.
grand confluence of the musical acumen of 4
Thus, most likely the meeting must have taken place
composers,
after 1817 AD but certainly before 1827 A.D, which is
Ramasvami
Dikshita,
Syama
Sastri,
Cinnasvami Dikshita and Muthusvami Dikshita. It has to be pointed out that the SSP records that Cinnasvami
Dikshita
too
was
a
musician
and
composer in his own right. We can also narrow down the exact period when this rendezvous between the Trinitarians might have happened. Ramasvami Dikshita passed away in
just about 200 years ago. Barring one another instance, in the history of our Carnatic Music this far, this is the only other known instance where a composition was jointly produced by two or more great composers! And let us move on to hear a rendering of the same.
1817 AD and Syama Sastri in 1827 AD, according to
(Excerpt above of the carana portion of the varna “sAmi ninE kOri� in the raga Sriranjani from the English Translation of the SSP as available at http://ibiblio.org/guruguha/ssp_cakram1-4.pdf with the commentary/footnote provided by Subbarama Dikshita on whose authority we can say that these musical greats met and completed the hitherto unfinished varna of Ramasvami Dikshita)
VAAK A RENDEZVOUS AND THE VARNA
PAGE 13
H N Bhaskar
TM Krishna
Manoj Siva
B S Purushotham
DISCOGRAPHY In this section I present this varna a novel joint
a lineal MDNS. Contrastingly in the SSP and in this
production of 4 great musical luminaries including
composition it can be seen that almost as a rule the
the incomparable Syama Sastri and Muthusvami
prayoga is MNDNS and not MDNS, thus reinforcing
Dikshita, sung by Vidvan T M Krishna. He first
the older 18th century raga architecture concept
prefaces the composition with his commentary
which always posited jumps, turns, bends and twists
followed by a raga vinyasa. This is from his concert for
for a raga’s progression. Ragas seldom proceeded
Guruguhamrutha, held on 13th Nov 2016 @ Raga
lineally.
Sudha Hall, Chennai. The accompanists in this
Further, another beauty of this composition is that,
recording are Vidvans Sri H N Bhaskar on the violin,
stylistically as well as lyrically, the appendages
Sri Manoj Siva on the mrudangam and Sri B S
composed by these three musicians, seamlessly
Purushotham on the kanjira:
segue as if it were composed as one unit together.
https://soundcloud.com/ravi-rajagopal-
It is sad that this varna is not performed at all and
165020074/sami-ninne-sriranjani
one does hope that it is done more in the days to come. And the next time one gets to visit the house
Incidentally there is a video recording online of
of the great Syama Sastri in Tanjore, in Kamakshi
Vidvan Krishna’s rendering, albeit a much older one:
Agraharam, behind the Bangaru Kamakshi Temple,
https://www.youtube.com/watch?v=QekBcbROvtM
one should pause for a minute and look at those walls and the wooden rafters in the hall ( kUdam in
A commercial recording featuring this composition
Tamil) for they are the only surviving mute witnesses
by Vidusi Sumitra Vasudev too is available.
to that wonderful evening, roughly 200 years ago
From a musical standpoint as we know the raga
when the two Trinitarians met and completed this
lakshana of Sriranjani is presented conventionally
varna.
with the arohana progression in the uttarAnga being
Picture courtesy: Purnaviolin.com, sangeethamrutham, First Edition Arts, samauniversal.
VAAK A RENDEZVOUS AND THE VARNA
PAGE 14
EPILOGUE My introduction to this piece was through my
(Sriranjani, Khanda Eka tAla) which too he taught me
teacher/guru the revered Prof C S Seshadri (Prof CSS)
in a wonderfully languorous slow kAlapramAnam.
who taught me this composition, interpreting it right
And this cauka varna too in Sriranjani being taught
from the SSP. Prof CSS passed away a couple of
by him, makes me offer this article as a homage &
weeks ago. A mathematician par excellence and a
musical remembrance to his cherished memory.
winner
and
And needless to add the unique varna “sAmi ninnE
recognitions including the alternative Nobel Prize for
kOri” being a joint production of Syama Sastri,
Mathematics, , Prof CSS was an amateur vocalist
Cinnasvami Dikshita and Muthusvami Dikshita along
musician as well. He was a student of the Late
with the original portions being that of Ramasvami
Rangaramanuja Iyengar and also inherited his
Dikshita make this unique and special that too for
enviable repertoire of Tyagaraja Kritis through his
the first edition of “vAk”!
of
innumerable
awards,
honours
grandmother who in turn had learnt it from Kancipuram Naina Pillai. To date Prof CSS remains
Acknowledgement: I thank Vidvan T M Krishna for
one of the exalted few who had sung before Sangita
granting me permission and sharing this recording
Kalanidhi T Brinda, quite a few times and earned her
of the varna “sAmi ninnE kOri” in Sriranjani.
approbation for his immaculate rendering.
Author: Ravi Rajagopalan a lawyer based in Chennai And for him the raga Sriranjani was a personal
is a musical enthusiast and a student of the music of
favourite.
and
Muthusvami Dikshita and that of the Sangita
practicing kritis to him, he would always insist on
Sampradaya Pradarshini. He blogs on music at
rendering Muthusvami Dikshita’s “Sri Dhum Durge”
http://guruguha.org/articles-ravi-rajagopalan/
Every
time
Prof CS Seshadri
I
went
for
singing
Rangaramanuja Iyengar
Kancipuram Naina Pillai
T Brinda
Picture courtesy: Portrait of Prof CSS by R. Mohan, Picture of Rangaramanuja Iyengar, Naina Pillai and Brinda from Sruti Magazine.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 16
_ _ THE RAGA HINDOLAM Rāga-s too change over a period and this change can
Hindōlam is not new to a music aficionado and
be related to their lakṣaṇa, svarasthāna-s or selective
almost all prominent composers have a composition
phrases. Contrastingly, very few rāga-s resisted this
in this rāga. It is also much fortunate that many of
transformation and are with us in a form that they
these compositions are quite popular. Kṛti-s like
were few centuries back. Interestingly, there are few
sāmaja vara gamana and manasulōni
rāga-s in an intermediate zone. They neither got
Svāmigal), nīrajākṣi kāmākṣi (Muddusvāmy Dīkṣitar),
transformed completely nor remain intact. This
māmavatu śrī sarasvati (Maisūru
article will try to trace the journey of one such rāga.
and mā ramaṇan (Pāpanāsam Sivan) can be cited as
(Tyāgarāja
Vāsudēvācārya)
examples.
HISTORY The rāga Hindōlam with the present pentatonic
Mahābharata Cūḍāmaṇi does not differ in their
structure, a ṛṣabha - pañcama varjya rāga having
description. The name Hindōlam could have been
sādhāraṇa
madhyamam,
quite common in the past is revealed by a mention,
suddha dhaivatam and kaiśiki niṣādham can be seen
more than once in the literature. Despite sharing a
at least from the period of Sadrāgacandrōdaya of
common name, these rāga-s have a different
Paṇḍarīka Viṭṭala. A rāga with a similar structure is
lakṣaṇa. Since we are dealing with the changes seen
also seen in the treatises written by Śahāji and Tulaja
in the rāga Hindōlam, which is now in vogue, these
(Hēma 2004:549). Later, Subbarāma Dīkṣitar details
variants are not dealt herewith.
this
further, it is pertinent to discuss the phrases
gāndhāram,
suddha
1
rāga
a
lakṣaṇa
ślōka
attributed
to
Before proceeding
Vēṅkaṭamakhī.
described in these granthā-s as this is the locus
Hindōlam is also described in the texts like Saṅgraha
which shows much variation.
Cūḍāmaṇi,
1
with
2
Sarvārtha
Sāra
Saṅgrahamu
and
A rāga by name Hindōla can also be seen in the text Svaramēlakalānidhi of Rāmamāṭya. Though the svara-s taken
by this rāga is same as that of the present day Hindōlam, this is a different rāga as this lacks ṛṣbha and dhaivata.
2
We find a hexatonic scale with the name Hindōlam in a manuscript preserved in The Tanjāvūr Maharāja Śerfōji
Sarasvati Mahāl Library (TMSSML). This is considered as a janya of Vasantabhairavi mēla and also has a gītam.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 17
We will start our discussion from the grantha Rāga Lakṣaṇa of King Śahāji. This treatise
is
said
to
have
been
anywhere
between
CE
considering
the
of
period
written 1684-1711,
Śahāji.
He
mentions, the svara movement in this rāga occurs in a straight course and then proceeds
to
explain
further
by
giving
phrases like SNDNS, SGGM, MDM, GMDNS and SGGMGGNNS. The last phrase is of paramount speculated
importance. that
the
It
can
non-linear
be
(vakra)
nature of this phrase could have been the reason for its specific inclusion. Tulaja closely follows Śahāji while describing this rāga
and
mentions
the
phrase
SGGMGGMNNS . 3
Though the texts Saṅgraha Cūḍāmaṇi, Sarvārtha
Sāra
Saṅgrahamu
and
Mahābharata Cūḍāmaṇi unanimously gives the scale as SMGMDNS SNDMGS, only the first text explains in detail by giving a lakṣaṇa gīta. A close inspection of this gita ‘ārē
raṅganātha
perception
of
bhujaṅga’ Hindōlam
reveals
the
by
this
granthakārta is much different from the discernment of Hindolam by Śahāji and Tulaja. Hindōlam of Saṅgraha Cūḍāmaṇi always goes as SMGM in the upward movement (ārōhaṇam) with SGS occurring rarely. This has a straight course without a
Shahaji of Tanjore, Source: The Hindu
devious twist and the tāra ṣaḍja is always reached through the phrase MDNS from madhyama. Contrastingly, the Hindōlam of Śahāji and Tulaja is a vakra rāga with phrases like SGGMGG(M)NNS, despite being described as a rāga with a straight course!
GNNS and MNNS in the works of Śahāji and Tulaja respectively is intriguing. This could be an error on the side of the scribe. MNNS appears to be the correct reading if we consider the alternate sources.
3
The phrase SGGMGGNNS and SGGMGGMNNS is to be interpreted with caution. There is an insertion of madhyama
after the second second janṭa gāndhāra in the text by Tulaja. Since the text by Tulaja is an acute reproduction of Śahāji’s work (with respect to Hindōlam), the difference seen in this phrase alone
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 18
_ HINDOLA OF THE PRE-TRINITY PERIOD A rāga lives only through the compositions and a
composition (Aravindh 2019:39). Even in this varṇa,
deeper analysis of these compositions alone make us
MNDNS is the only phrase used to reach tāra ṣaḍja
to contemplate a rāga. We will now concentrate on
from madhyama and the phrase MNS is strikingly
few compositions, which will help us to get a much
seen at the beginning line itself.
clear picture about Hindōlam of the Pre-Trinity period. The first example is a gīta attributed to
Based on the above discussion it can be understood
Vēṅkaṭamakhī by Subbarāma Dīkṣitar. This gīta was
that MNDNS is an arterial phrase, used to reach the
much popular and recorded at various places in the
tāra sthāyi ṣaḍja from madhyama and MDNS was not
literature. This can also be seen in the text Saṅgīta
used, as given in the lakṣaṇa gīta mentioned. The
Sampradāya Pradarśini of Subbarāma Dīkṣitar and
phrase MNS or MMNNS, which is now typical to the
has a mudra ‘vēṅkaṭēṣvara dīkṣitya’. This gīta is also
rāga Rītīgaula, was used in Hindōlam also. However,
seen in a manuscript preserved in TMSSML. The gīta
Saṅgraha Cūḍāmaṇi (and perhaps its allied texts)
starts with madhyama, an important gṛha svara (the
differed in not using these two phrases. Instead they
svara on which a segment of a composition
preferred using the phrase MDNS in lieu of MNDNS.
commences) and we see the phrase MNDNS immediately therein. We do find the phrase SGS here
Our knowledge is much limited with respect to the
and the glide from madhyama towards tāra ṣaḍja is
rāga lakṣaṇa prevailed during the period of the
always through MNDNS. Interestingly the phrase
celebrated Trinity or prior. Though followers of
MNNS appears here and Tulaja’s description is to be
Vēṅkaṭamakhī
definitely
remembered here.
discipline,
must
Another composition that would be of interest to us is the varṇa by Rāmasvāmy Dīkṣitar, father of Muddusvāmy Dīkṣitar. This varṇa ‘rammanave’ was notated by Subbarāma Dīkṣitar and is on the deity Tyāgēśa of Tiruvārūr. Rāmasvāmy Dīkṣitar has not used his usual mudra ‘vēṅkaṭakṛṣṇa’ in this
we
formed
have
had
a other
separate coeval
functioning schools. It is unfortunate that we are totally in the dark with respect to these other systems and their proponents. This lacuna becomes more transparent when we analyze the lakṣaṇa of this rāga.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 19
TMSSML is a repository of manuscripts and majority
Contrarily, there also existed another school, which
of them remain untouched. It is in these records we
felt SGMDNS is the vital phrase and the phrases
find few gīta-s, ‘rajaninnade’ and ‘sudhā sindhura’ in
MNDNS or MNNS were not used by them. The
the rāga Hindōlam, but with a different structure.
phrases SGS and SGMS were common to both. The
Hindōlam is handled in a linear fashion in the
composers like Rāmasvāmy Dīkṣitar, Muddusvāmy
mentioned gīta-s. We cannot see the phrases
Dīkṣitar and Tyāgarāja Svāmigaḷ were the followers
SMGMNDN, MNN or MNDN even at a single place.
of the first school. With the available evidences the
Also we find profuse use of the prayōga SGMDNS in
proponents of the latter school cannot be identified.
5
these gīta-s. Though it is to be accepted that we are not
in
a
identify
position
the
to
ārōhaṇa
karma phrases used by Śāhāji and Tulaja, it is much
understandable
from
the
above
discussion
that
Hindōlam
is
their much
different from the one extant
in
the
gīta-s
‘rajaninnade’ and ‘sudhā sindhura’.
We
can
conclude
this
section by saying there were
(atleast)
two
different schools in the past.
The
consider nonlinear
first this
school
rāga
rāga
as with
phrases like MNDNS and MNNS. They never used a straightforward SGMDNS.
Maharaja Tukkoji alias Tulaja I, Source: Serfoji memorial hall
5
The composer of these gīta-s remain anonymous as the mudra segment is not available.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 20
_ HINDOLA OF THE TRINITY PERIOD We will move on to the next period in the history of Karnāṭaka Music, the period of Syāmā Sāstrigaḷ, Tyāgarāja Svāmigaḷ and Muddusvāmy Dīkṣitar. We have two compositions of Svāmigaḷ and one composition of Muddusvāmy Dīkṣitar. We don’t have any compositions attributed to Sāstrigaḷ extant in this rāgaṃ.
Nīrajākṣi of Muddusvāmy Dīkṣitar
compositions display the Hindōlam of the present
This is a grand composition on Dēvi Kāmākṣi. This kṛti has a pallavi,anupallavi,caraṇa and a citta svara segment.
Subbarāma
Sampradāya composition.
Dīkṣitar
Pradarṣini 6
has
in
his
Saṅgīta
notated
this
Hindōlam seen here is an exact
replica of ‘rammanave’ with own innovations of the composer.
Muddusvāmy
Dīkṣitar
assiduously
reproduced the main rules followed by Rāmasvāmy Dīkṣitar in approaching this rāga. An important point here is the absence of the phrase MNS, seen in the earlier compositions. This could be due to the disappearance of this phrase during the period of Muddusvāmy Dīkṣitar or the composer’s wish to not opt for this phrase.
old
Hindōlam.
Vālājāpēṭṭai
version
Vēṅkaṭaramaṇa
notated
Bhāgavatar,
by an
available to us (Aravindh 2020:46). Vālājāpēṭṭai version has only the phrase MNDNS and there is a total lack of the phrase SGMDNS unlike the common version that we hear today. kṛti-s,
there
is
a
domination
7
of
In both the downward
(avarōhaṇa) phrases, and we do not find two other vital phrases SGS and MNS. Perhaps, the composer wishes to not use these phrases. Instead we do find a phrase MGMDNS in both these kṛti-s.
8
We wish to
remind the readers that the phrase GMDNS is seen in the description given by Śahāji and Tulaja in their treatises. A similar structure can also be seen in few
Svāmigal
other manuscripts written in early part of the last the
common
versions
of
these
century.
We do have two other compositions attributed to Muddusvāmy Dīkṣitar, ‘gōvardhana girīṣam’ and ‘sarasvati
Vālājāpēṭṭai version reconstructed by this author can be heard in the link:
https://www.youtube.com/watch?v=UxR8mXEbAno 8
such
amanuensis and a prathama bhakta of Svāmigaḷ is
vidhiyuvati’. These kṛti-s are not seen in Pradarṣini. 7
One
Sāmaja vara gamana and Manasulōni of Tyāgarāja Whereas
6
era, we do have versions exhibiting all the features of
It is to be noted that the phrase used here is MGMDNS and not SGMDNS.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 21
_ HINDOLA OF THE TRINITY PERIOD Subbarāma Dīkṣitar in his treatise explores the
even during the early years of the last century. We do
lakṣaṇa and lakṣya of this rāga by giving illustrative
have
phrases and compositions. He gives SGGMNDNS
advocating the use of lower dhaivata. One such
SNDMGS as a mūrccana for this rāga. All the
example that might be of use to us here comes from
representative compositions notated by him follow
an article by Tiger Varadācāryār. He not only
the structure crystallized in the works of Rāmasvāmy
advocates the use of śuddha dhaivata, but also
Dīkṣitar and the gīta attributed to Vēṅkaṭamakhī.
recommends the usage of this svara in its allied rāga-
musicians
condemning
this
trend
and
s like Mārgahindōla, Hindōlavasanta, Sāramati and Harikēśanallur Muttiah Bhāgavatar has composed
Śuddhadēśi (Tiger Varadācāryār 1930:236).
two compositions in this rāga, of which the kṛti ‘nava lāvaṇya’, one among the Cāmuṇḍāmbā aṣtōttara śata kṛti-s deserve a special mention. Hindōlam seen here
is
in
total
agreement
with
the
kṛti
of
Muddusvāmy Dīkṣitar (as notated by Subbarāma Dīkṣitar) and the two kṛti-s of Svamigaḷ, as notated by the Vālājāpēṭṭai disciples. It has the phrases MDNDS, MGMDNS and interestingly MNS. It is to be noted that the phrase MNS, which has disappeared even during the period of Svāmigaḷ and Muddusvāmy Dīkṣitar has resurfaced again in this kṛti. Complying with the rule, SGMDNS is not seen. This shows the interest shown by the composer to incorporate the
Harikēśanallur Muttiah Bhāgavatar
Tiger Varadācāryār
lost prayōga-s. However, this phrase is no more heard in the versions available in the public domain. The last century also witnessed another problem with respect to the variety of dhaivata to be used in this rāga. Whereas the rāga Hindōlam in all of the mentioned treatises prescribe the use of suddha dhaivata (and is still followed by many), we do have versions of ‘sāmaja vara gamanā’ and ‘manasuloni’ with catuśruti dhaivata.
9
This alternate version with
the higher dhaivata for these kṛti-s were popular Subbarāma Dīkṣitar
9
Hindōlam with catuśruti dhaivata is also called as Varamu
VAAK PAGE 22
A JOURNEY OF THE RAGA HINDOLAM
Many discussions regarding the rāga lakṣaṇa happened in the conference proceedings organized by The Music Academy and all of them were well recorded. Of these, a discussion happened in the year 1935 (Proceedings of the Experts Committee of the Madras Music Academy 1935-1937:155) is of much relevance. Hindōlam was discussed in detail and two important decisions were taken - Hindōlam is a janya of mēla 20 and the ārōhana avarōhaṇa of this rāga is SGMDNS SNDMGS. This could have been a landmark event as this discussion could have been a pivot to change the lakṣaṇa of Hindōlam, SMGM centric Hindōlam to SGMDNS centric Hindōlam.
10
Though the practice of
handling this rāga in a purely linear form with only using SGMDNS was prevalent even before the period of Svāmigaḷ and Muddusvāmy Dīkṣitar, the latter composers preferred to use only the non-linear form for reasons unknown to us. Some later composers too followed this system. For untrained ears, this might not create a big difference; but if we need to consider the musical thought process of the composers who have created these compositions, this discussion makes sense, as the linear Hindōlam is certainly different from the rāga envisioned by these composers. Jānakirāman (2009:62) accepts the usage of śuddha dhaivata and gives some additional points. He elucidates the phrases from various texts and accepts all the prayōga-s – SMGM, MNDN and SGMDNS. Hindōlam what we hear today is an admixture of both these traditions. Though we hear SGMDNS in plenty, we do have an opportunity to listen to phrases like MNDNS, SGMS and SGS. The phrase MN(N)S totally disappeared.
Illustration of raga Hindola in Sri Tattva Nidhi by Krishna Raja Wodeyar of Mysore
9
We do have compositions by Post-Trinity composers who have used plenty of SGMDNS.
VAAK A JOURNEY OF THE RAGA HINDOLAM
PAGE 23
Illustration of raga Hindola in Sri Tattva Nidhi by Krishna Raja Wodeyar of Mysore
"Hindola Raga" man on a swing surrounded by women Source: British Museum
CONCLUSION Hindōlam is one of the very few rāga, which have reached us without much change. In the past, we had two traditions in approaching this rāga. The first one is a nonlinear approach, followed by Rāmasvāmy Dīkṣitar and his family, Svāmigaḷ and later by Muttiah Bhāgavatar. The other tradition is to see this as a linear rāga. Now, both these traditions got combined and we hear an amalgamated form of Hindōlam. It is a general contention that Svāmigaḷ and Muddusvāmy Dīkṣitar were the followers of two different traditions. This rāga is an example that can be cited to disprove this hypothesis.
VAAK PAGE 24
A JOURNEY OF THE RAGA HINDOLAM
Acknowledgement
I sincerely thank Dr Arati Rao, Researcher and Academician for parting the manuscripts in her possession. References Aravindh, T, Ranganāthan. 2019. Mudra used by Sri Rāmasvāmy Dīkṣitar. Śanmukha, Issue 2, p 38-40.
Aravindh, T.R. 2020. Unpublished varnas of Wālājāpēt Vēṅkaṭaramaṇa Bhāgavatar. Śruti, Issue 429, p 46-47. Hēma Ramanāthan. 2004. Rāga Lakṣaṇa Saṅgraha (Collection of Rāga Descriptions) from Treatises on Music of the Mēla Period with translations and notes. Published by N Rāmanāthan, Chennai, p 539-551. Jānakirāman, S R. 2009. Rāga lakṣaṇaṅgal – Part 1. The Music Academy, Madras, p 59-62. Proceedings of the Experts Committee of the Madras Music Academy. 1935-1937. The Journal of Music Academy, Volume 5, p 154-155. Tiger Varadācāryār. 1930. A note on Hindōla and allied ragas. The Journal of Music Academy, Issue 4, p 235-236. Author
The author is a Chennai based dentist and is presently researching on the old versions of the compositions of Śyāmā Sāstrigaḷ, Tyāgarāja Svāmigaḷ and Muddusvāmy Dīkṣitar by analyzing the manuscripts. His renditions and lectures on this topic can be heard in his YouTube channel https://www.youtube.com/user/Vathathmaja
Ragamala Painting - Hindola ragini, Kṛṣṇa and Rādhā on a swing, with female attendants and clouds with Hindi inscription. Gouache on paper. Source: British Museum
VAAK
PAGE 25
Down
Across
1. Mridangam maestro who was equally at home on the kanjira. In addition, his ability to sing provided an added musicality to his percussion work
4. Musician whose style was filled with slow and bhavaladen rendition which was deeply contrasted by his guru’s brisk madhyama kala renditions.
2. These musicians brought the illustrious Thirupugazh compositional form into the forefront of the Carnatic performance stage. Where do they hail from?
6. The artist who was known to have sung a lot of concerts without accompaniments in the Thathachari farmhouse near Trichy. Where was this artist from?
3. A musician famous for unearthing and giving life to numerous compositions of Purandara Dasa
7. Musician that introduced the grahabhedam technique and applied it in healthy moderation. The musician was also highly influenced by the nadaswaram tradition.
5. A musician that seamlessly blended the GNB bani filled with lavish brikas and elaborate alapana singing and the veena Dhanammal bani complete with raga bhava and rare Padams and Javalis.
3. It is rumoured that this artist mortgaged raga Thodi to get loaned some money. He kept his promise and never performed the raga Thodi till the loan was paid back.
8. The Musician that stimulated an era of “madhyama kala� music and increased the number of krithis in a concert
10. A pathbreaking musician that developed a style that revolves around filigree work and uncompromising raga bhava.
VAAK
PAGE 26
WORD
SEARCH
ATANA DHANYASI KALYANI KANADA SRIRANJANI BEGADA GOWLA KAMAS MOHANAM THODI BHAIRAVI HINDOLAM KAMBHOJI SAVERI VARALI
Guess the
RA GA
GN Balasubramaniam – Jayamanohari Musiri Subramania Iyer – Andolika Abishek Raghuram – Ahiri TM Krishna – Nari reetigowla ML Vasanthakumari - Pushpalatika
Sudha Ragunathan - Hemavathi S Sowmya - Navroj - Kshetrayya padam Charumathi Raghuram - Nalinakanthi TR Mahalingam - Navarasa kanada Lalgudi Vijayalakshmi - Rishabhapriya
