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Tyagaraja | |
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| Born | Kakarla Tyagabrahmam (1767-05-04)4 May 1767 |
| Died | 6 January 1847(1847-01-06) (aged 79) |
| Resting place | Thiruvaiyaru,Thanjavur District,Tamil Nadu,India |
| Occupation | Carnatic composer |
| Website | thiruvaiyaruthyagarajaaradhana |
Sadguru Tyagaraja Swami (4 May 1767 – 6 January 1847), also known asTyagayya, and in full asKakarla Tyagabrahmam, was a composer ofCarnatic music, a form ofIndian classical music. Tyagaraja and his contemporaries,Shyama Shastri andMuthuswami Dikshitar, are regarded as theTrinity of Carnatic music. Tyagaraja composed hundreds of devotional compositions, most inTelugu and in praise ofRama, many of which remain popular today. Of special mention are five of his compositions called thePancharatna Kritis (transl. "five gems"), which are often sung in programs in his honour. Tyagaraja composedUtsava Sampradaya Krithis (transl. Festive ritual compositions), which are often sung to accompany temple rituals and Divya Nama Sankeertanas (transl. Divine name compositions) which are sung as a part of concerts and in daily life.
Tyagaraja lived through the reigns of four kings of theMaratha dynasty –Thuljaji (1763–1787),Amarasimha (1787–1798),Serfoji II (1798–1832) andShivaji II (1832–1855),[3] although he served none of them.
Tyagaraja was born Kakarla Tyagabrahmam in 1767[Note 1] to aTeluguVaidikiMulakanadu Brahmin family[4] inThiruvarur in present-dayThiruvarur District ofTamil Nadu. There is a school of thought led by musicologist B.M.Sundaram that contests this and proposesThiruvaiyaru as his birthplace, though the evidence for this is not compelling enough. His family nameKakarla indicates that they were originally migrants from the village of the same name in theCumbum taluk ofPrakasam district,Andhra Pradesh (also called the Kurnool region of Prakasam district). His family belonged to theSmarta tradition andBharadvajagotra. Tyagaraja was the third son of his parents, Kakarla Ramabrahmam and Seethamma.[5] Panchanada Brahmam and Panchapakesha Brahmam were his older brothers. He was named Tyagabrahmam/Tyagaraja afterTyagaraja, the presiding deity of the temple at Thiruvarur, the place of his birth.
Tyagaraja's paternal grandfather was Giriraja Brahmam/Giriraja Kavi (not to be confused with the name-sakeGiriraja Kavi).[6][7]Giriraja Brahmam/Giriraja Kavi was a poet, scholar and a musician. Giriraja Brahmam was born in Kakarla village,Cumbum taluk inPrakasam district, Andhra Pradesh.[8] Tyagaraja's maternal grandfather was Kalahastayya, popularly addressed as Veena Kalahastayya as he was a notedveena player. Tyagaraja was said to have learnt to play the veena in his childhood from Kalahastayya. After Kalahastayya's death, Tyagaraja foundNaradeeyam, a book related to music.[9][10] Tyagaraja was said to have masteredSanskrit,Telugu,Bhagavata Purana, andRamayana at an early age.
Tyagaraja spent most of his life in Thiruvaiyaru in the single room house (No. 31, Thirumanjana Veedhi) that was donated to his father Ramabrahmam byThuljaji, the Thanjavur ruler in whose court Ramabrahmam worked.[11] This house has since been renovated and opened to music lovers after years of neglect.[12] There are records of his pilgrimages to Sri Rangam, Tirumala and Kanchipuram. When he was inKanchipuram, he metUpanishad Brahmayogin at the Brahmendral Mutt in Kanchipuram.[13][14]
Tyagaraja took siddhi (attained liberation) on a Pushya Bahula Panchami day, 6 January 1847, at the age of 79, a day after he took the vow ofSannyasa and was initiated into the order ofAdvaitaDasanamisanyasis.[15] His last composition before his siddhi wasGiripai Nelakonna (ragaSahana, Adi talam).[16] He was interred on the banks of theKaveri river atThiruvaiyaru the very next day.[17]
Tyagaraja began his musical training at an early age under Sonthi Venkata Ramanayya, the chief vidwan in the court of Thanjavur rulerThuljaji, where Tyagaraja's father Ramabrahmam also worked.[18] Tyagaraja hero-worshipped the celestial sageNarada; a reference to this is Tyagaraja's krithiVara Nārada (rāga Vijayaśrī, Ādi tāḷam). Legend has it that a hermit taught him a mantra invoking Narada, and Tyagaraja, meditating on this mantra, received a vision of Narada and was blessed with the bookSvarārnavam by the sage. Tyagaraja was said to have mastered the nuances of music from this book. Tyagaraja regarded music as a way to experience divinity. His compositions focused not only on the technicalities of classical music, but also on the expression (bhāva). He composed his first kriti, "Namo Namo Raghavaaya" in Sanskrit, in the Desika Todiraga and inscribed it on the walls of his house. His compositions are mainly of a devotional (bhakti) and philosophical nature. His songs feature himself usually either in an appeal to his deity of worship (primarilyRama), in musings, in narratives, giving a message to the public. He introduced the concept of saṇgati into the sāhityaṃ of a krithi, that was seen as a paradigm shift in Carnatic Classical Music. He is also known for composing kritis that depict ninda stuti (lovingly/flatteringly scolding the divine (also seen in compositions ofBhadrachala Ramadasu). He has also composed krithis in praise of Krishna, Shiva, Devi, Ganesha, Muruga, Saraswati, and Hanuman.[19]
Tyagaraja's musical genius spread all across Thanjavur and its principalities (of which Thiruvarur and Thiruvaiyaru were also a part of) until it reached the king of Thanjavur,Serfoji II (also called Sarabhoji II). The king sent an invitation, along with many gifts, inviting Tyagaraja to attend the royal court. Tyagaraja, however, was not inclined towards a career at the court, as he felt it would chain his creativity and also his pursuit of the divine and rejected the invitation outright. He was said to have composed the krithiNidhi Chala Sukhama (నిధి చాల సుఖమా) (transl. "Does wealth bring happiness?") on this occasion.[20][21][22]
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Tyagaraja was always immersed in his devotion to Rama and led a spartan way of life. Tyagaraja willingly taught music to anyone who approached him, thus earning him many disciples across various stages of his life. Prominent ones among them includeVenkataramana Bhagavathar and Krishnaswamy Bhagavathar (the father-son duo ofWalajapet), Thanjavur S Ramarao (who also happened to be his cousin; not to be confused with the namesake,T. Rama Rao (administrator)),Veena Kuppayyar,Manambuchavadi Venkatasubbayyar,Subbaraya Sastri (son ofShyama Sastri). Some of these disciples carefully codified his compositions on palm leaves and copper plates. Most of Tyagaraja's kritis are in vernacular language and thus gained immense popularity because of the ease with which they could be learnt and sung. Tyagaraja also composed many kritis in Sanskrit.[23]
The codification, documentation and preservation of Tyagaraja's compositions by his disciples during his lifetime was not streamlined due to many reasons. The primary reason being, certain groups of Tyagaraja’s disciples studied under him only during specific periods of his life, limiting their exposure to compositions created outside their own tutelage years. Consequently, the entirety of his compositions was not compiled into a unified corpus, and his compositions kept changing hands as the disciples/groups were scattered geographically. One of the earliest compilations of Tyagaraja's kritis was done by A. M. Chinnaswami Mudaliar, who, in 1893, published a volume titled, Oriental Music In European Notation.[24] Mudaliar lavished rich praise on Tyagaraja's profound musical legacy in his work. It was only in the early 20th century that serious efforts were made to compile the compositions into a single collection. T. S. Parthasarathy, a leading scholar and critic on Carnatic Classical Music, published a text containing Tyagaraja's kritis and their meaning, after carefully reviewing the original manuscripts that were in possession of the families of Tyagaraja's disciples. These manuscripts are now preserved in theSaraswathi Mahal Library in Thanjavur.[25] Also, musicologists like K. V. Srinivasa Iyengar and Rangaramanuja Iyengar made enormous efforts to compile Tyagaraja's compositions into volumes by contacting the families and descendents of Tyagaraja's disciples who possessed the palm leaves. K. V. Srinivasa Iyengar brought outAdi Sangita Ratnavali andAdi Tyagaraja Hridhayam in three volumes. Rangaramanuja Iyengar publishedKriti Mani Malai in two volumes. Furthermore, Musiri Subramania Iyer, the doyen of Bhava Sangitam, had a vast collection of books in his library. T. K. Govinda Rao, his disciple, brought out a volume of Tyagaraja's compositions in English andDevanagari script. In Telugu,veena vidwan Manchala Jagannadha Rao compiled Tyagaraja's kritis in Telugu script and published it with the help ofTirumala Tirupati Devasthanams in seven volumes.[26]
There are about 720 compositions available today, though there are claims that Tyagaraja composed 24,000 pieces. However, scholars are skeptical about these numbers, as there is no biographical evidence to support such claims.[27]In addition to nearly 720 compositions (kritis), Tyagaraja composed two musical plays in Telugu, thePrahalada Bhakti Vijayam and theNauka Charitam.Prahlada Bhakti Vijayam is in five acts with 45kritis set in 28ragas and 138 verses, in different metres in Telugu.Nauka Charitam is a shorter play in one act with 21kritis set in 13ragas and 43 verses. The latter is the most popular of Tyagaraja's operas, and is a creation of the composer's own imagination and has no basis in theBhagavata Purana. Tyagaraja also composed a number of simple devotional pieces appropriate for choral singing.[28][29]
The 20th-century Indian music criticK. V. Ramachandran wrote: "Tyagaraja is an indefatigable interpreter of the past... but if with one eye he looks backward, with the other he looks forward as well. LikePrajapati, he creates his own media and adores his Rama not alone with jewel-words newly fashioned, but also with jewel-[like]-music newly created. It is this facet of Tyagaraja that distinguishes him from his illustrious contemporaries."[citation needed] In other words, while Tyagaraja's contemporaries were primarily concerned with bringing to audiences the music of the past, Tyagaraja also pioneered new musical concepts at the same time.[citation needed][30]
Tyagaraja Aradhana, the commemorative music festival is held every year inThiruvaiyaru inThanjavur district ofTamil Nadu, during the months of January to February in Tyagaraja's honor. This is a week-long festival of music where various Carnatic musicians from all over the world converge at his resting place. On the Pushya Bahula Panchami,[Note 2] thousands of people and hundreds of Carnatic musicians sing the five Pancharatna Kritis in unison, with the accompaniment of a large bank of accompanists onveenas, violins,flutes,nadasvarams,mridangams andghatams.[31]
A sports complex inNew Delhi,Thyagaraj Sports Complex, was named after him. Acrater on the planetMercury was named afterTyagaraja in 1976.[32]
Apart from references to his works, using thekirtanas as songs, two films were made on his life.V. Nagayya made a biographical epic on Tyagaraja titledTyagayya in 1946 which is still treated as a masterpiece ofTelugu cinema. In 1981, Bapu–Ramana madeTyagayya withJ. V. Somayajulu in the lead role. Another attempt is being made bySingeetam Srinivasa Rao to picturise Tyagaraja's life. Apart from these,Bombay Gnanam made a short film known asEndaro Mahanubavulu on Tyagaraja. The short film was released on 27 February 2021, on the 174th Tyagaraja Aradhana festival.[33]
Carnatic kriti 'Sri Ramachandram Bhajami' inRaga 'Sri Tyagaraja' created and composed byMahesh Mahadev [kn] named after Saint Tyagaraja[34] sung byPriyadarshini[35] was released on 10 January 2023 at Sri Tyagaraja Samadhi during 176thTyagaraja Aradhana festival[36][37]
The name of Tyagaraj's compositions, thePancharatnas, means "five gems" in Sanskrit. All of the Pancharatnas are set to theadi talam. A stable text has been handed down from the earlier musicians to the present day. All the compositions of Tyagaraja show the way for the systematic development of the respective ragas. In the Pancharatnas, Tyagaraja offers parameters as to how to systematically and scientifically develop a raga. The two fundamental conditions that must be satisfied for the systematic development of a raga are the arrangement of the svaras in the natural order ofarohanam, and theavarohanam of the ragas so as to satisfy the sound principles of harmony and continuity. Pancharatnas satisfy these scientific principles. The Pancharatnas are composed in perfect sarvalaghu svaras.[38]
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