Thyagaraja Aradhana

March 17, 2012

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 Table of Contents
Welcome Note ......................................................................................... 3
Today’s Program ...................................................................................... 4
Sruti Board of Directors 2012 ................................................................... 4
Spiritual Journey of Sri Thyagaraja - Shivram Viswanathan ................ 5
bhaktuDu - muktuDu - Prabhakar Chitrapu .......................................... 7
The Spirit of Thyagaraja Aradhana - Priyanka Dinakar ...................... 12
Blog Impressions - Harish Bevinahally ................................................. 13
Common Courtesy at Concerts - Rasikan ........................................... 15
Where was Thyagaraja born? - Prabhakar Chitrapu ............................ 17
Tyagaraja’s Confessional Songs as Epitomes of Repentance
Dr. William Jackson...........................................18
All About Carnatic Jumble - Kirena Manivannan ............................... 22
Carnatic Crossword - Anshul Ramanathan & Aditya Peri ................ 23
The Indian Arts in America - Veena Kanumalla ................................. 24
Solutions to Crossword and Jumble...................................................... 26
Sruti 2012 Calendar of Events................................................ Back Cover

SRUTI - The India Music and Dance Society is a non-profit 501(c)(3)

organization based in the Philadelphia region and founded in 1986. Sruti’s
principal mission is to promote and present Indian classical music and dance.
In addition, SRUTI seeks to educate the Philadelphia community at-large
about Indian arts. SRUTI is a volunteer-run organization. Its leadership com-
prises an elected Board of Directors and several committees.
Every year, around 10 or more world class music and dance recitals
are presented during the Spring and Fall seasons by SRUTI in the Greater
Philadelphia area. SRUTI also collaborates with other presenting organiza-
tions like the Painted Bride Arts Center, Kimmel Center for Performing Arts,
Annenberg Center at the University of Pennsylvania, Drexel University, and
Montgomery County Community College.
SRUTI has received generous grants from private foundations and
public organizations including the Pennsylvania Council on the Arts, Dance
Advance and Philadelphia Music Project (funded by the Pew Charitable
Trusts) and the Sam Fels Foundation in addition to a loyal and appreciative
audience.

The opinions expressed by the contributors of articles and reviews

are published in a spirit of openness of communication and freedom
of expression. They do not necessarily reflect the views of Sruti's
Board or its members.

~2~
 From the Publications & Outreach Committee
Dear Sruti Supporters & Music Enthusiasts,

SRUTI is honored to welcome you and your family to the 26th Annual
Thyagaraja Aradhana celebrations. This day-long event traditionally
marks the beginning of Sruti's spring concert series and is a show-
case for our local Carnatic music artists and students. This year's
featured artist is Shri Ashvin Bhogendra from New Jersey, who will be
accompanied by Shri L. Ramakrishnan on the violin and Shri Akshay
Anantapadmanabhan on the mridangam. We also had an over-
whelming interest in the individual and group-singing category and
have more than 60 participants today.

In this souvenir, the Publications and Outreach Committee is very

pleased to publish the thoughtful contributions from music aficionados
including many local young musicians. My heartfelt thanks and
appreciation to all the authors.

We hope you find the collection of articles in this commemorative

souvenir informative, interesting, intriguing and insightful.

So, sit back, relax and enjoy the cornucopia of music being offered
today in homage to the great Saint Composer Thyagaraja.

With best wishes,

Lakshmi Radhakrishnan
On behalf of the Publications and Outreach Committee

*Please accept our apologies for any errors or omissions you may find.

The cover picture of Thyagaraja is taken from the book. "Thiagaraja,

A Great Musician Saint (with Sargam Notation)" by M.S. Ramaswami
Aiyar, First Published in 1927 by Asian Educational Services, New
Delhi, India & reprinted in 1986. The picture in the book was taken
with permission from Jaganmohan Palace, Mysore, India.

~3~
 Program
March 17, 2012
08:00 AM - Pooja
08:15 AM - Utsava Sampradaya & Pancharatna Kritis
10:45 AM - Individual Participation
12:45 PM - Lunch (Included as part of entrance donation)
01:30 PM - Vocal Concert by Shri Ashvin Bhogendra
Violin: Shri L. Ramakrishnan
Mridangam: Shri Akshay Anantapadmanabhan
04:00 PM - Individual Participation (Continued)
07:00 PM - Dinner (Available for purchase from Temple Kitchen)

SRUTI Board of Directors 2012

President : Raji Venkatesan

President-Elect : Ravi Pillutla
Treasurer: Venkat Kilambi
Secretary: Bhuvana Srinivasan

Director, Resources & Development Ramana Kanumalla

Director, Publications & Outreach Lakshmi Radhakrishnan
Director, Marketing & Publicity Nari Narayanan
Director Uma Sivakumar
Director Sundar Arunapuram

Resources & Development

Ramana Kanumalla (Chair)
Sunanda Gandham
Venkat Kilambi
Uma Prabhakar
Viji Swaminathan

Publications & Outreach Marketing & Publicity

Lakshmi Radhakrishnan (Chair) Nari Narayanan (Chair)
Sundari Balakrishnan Anwesha Dutta
Harish Bevinahally Ravi Pillutla
Prabhakar Chitrapu Niranjan Raman
Rungun Nathan Vijay Seshadri
Mani Subramaniam Raman Visweswaran
Raman Visweswaran

~4~
 Ghana Raga Pancharatnams
The Spiritual Journey of Sri Tyagaraja
Shivram Viswanathan

Throughout history, people constantly ask the question, ―Who

are those great men who walked the earth?‖ After this question, names
such as Aristotle, Plato, Da Vinci will follow invariably. But rarely do we
ask the question that should logically follow: ―Why are they great?‖

This is the question I asked silently to myself in my naiveté as I

began to learn more and more of Sri Tyagaraja's compositions. Afraid
of criticism, I kept quiet with my doubts, and continued singing and en-
joying the beautiful krithis. The question grew and festered in my mind,
and I could not bear the ignorance any longer. After slight prompting
from my parents and a largely self-motivated inquiry, I began to re-
search the meaning of Sri Tyagaraja's famous Pancharatnams, hoping
to find not only an answer to my question, but something more.

We begin with Jagadananda karaka, where the glory of Rama

is extolled in scholarly Sanskrit and detail. In fact, the keerthana is
structured such that the saahithyams form one hundred and eight
names of Rama. The general theme of adoration of Rama is prevalent
in each of Tyagaraja Swami's compositions.

Dudugu gala is the epiphany of Sri Tyagaraja, transcending

the mundane. With utmost humility he recounts the mistakes he has
made in the past as a spiritual aspirant to Rama, and asks for forgive-
ness. His realization that material, earthly pleasures are ephemeral is
repeated throughout the keerthana.

The third Pancharatnam, Saadinchane, is set to Arabhi,

through which Tyagaraja Swami presents the teasing and playful saa-
hithyam. This composition brings the Lord to the level of a friend and
goes as far as teasing Krishna for not being true to his word and for
―deceiving‖ Yashoda and other Gopikas.

Kanakanaruchira focuses on the beauty of the physical form of

Rama, and how his image is entrancing in nature. Tyagaraja Swami
also mentions great bhakthas of Rama such as Dhruva and Hanuman
and pleads the Lord to include him with those great individuals.

The origins of the final Pancharatna krithi began at the abode

of Tyagaraja Swami's guru, Sri Sonti Venkataramanayya. At this place,
many great men were present including the renowned composer and
king Swati Tirunal. In the presence of these venerable individuals,

~5~
Tyagaraja salutes and pays homage to all these spiritual aspirants by
singing Endaro mahanubhavulu.

Through these Pancharatna Krithis, we are able to see not

only the masterful combination of poetic saahithyams and the ghana
raagams, but the progression of Tyagaraja Swami's love for the Lord.
Sri Tyagaraja dedicated his music to the divine, and when he began
his musical training, a spiritual journey that was made inseparable.
From discussing his own sins of egoism and pretentious behavior, he
moves to praise others in their musical and spiritual pursuits. From his
fixation on the physical beauty and worldly accolades of the Rama
Avatar, he begins to discuss inward spirituality and the ―divine spark‖ of
Paramatma in all. Tyagaraja Swami's journey transcends the great leg-
acy of his music, because it can be said that the music was only a
means to the ultimate goal. Nobody can compare to the bhava with
which he sang these krithis because they were not set compositions as
we sing now, but his own expressions and feelings. Despite this fact,
this discovery has motivated me to embark on my own journey, impli-
cating Carnatic music and the spiritual motives upon which the former
was established. In fact, we are all on this journey – whether we ac-
knowledge it or not.

Shivram Viswanathan is a sophomore at West Windsor-Plainsboro

High School South near Princeton, NJ. He enjoys all forms of music,
basketball, running, and spending time with his friends and family. He
is learning Carnatic vocal from Mrs. Uma Sivakumar.

Music Collection from Sruti Performers

at Amazon.com

New in 2012, Sruti has launched a music download

page making it easy for patrons to browse and buy
music by all professional artistes who have performed
in Sruti events in recent years.

http://www.sruti.org/sruti/inc-newsAmazon.asp

~6~
 bhaktuDu – muktuDu
Prabhakar Chitrapu

Transliteration–Telugu
(Transliteration as per Modified Harvard-Kyoto (HK) Convention)
(including Telugu letters – Short e, Short o) -

a A (aa) i I(ii) u U (uu)

R RR lR lRR
e E ai o O au M (H or :)

(e – short | E – Long | o – short | O – Long)

k kh g gh n/G
c ch j jh n/J (jn – as in jnAna)
T Th D Dh N
t th d dh n
p ph b bh m
yrlLv
S sh s h
Transliterated text is italicized.

Krishna Sastry garu was an aging music teacher. His students dwin-
dled to a handful in numbers during recent years, as his energy and
voice decayed, though not his enthusiasm. Sansaya was one his for-
mer students, who now has a comfortable IT job, but visited his former
teacher on occasion.

An occasion indeed it was that Saturday, as the famous MS Venkates-

warlu garu, fondly referred to as MSV, was giving a Carnatic vocal con-
cert at the vara vINa - gAna mandiram in the western part of the town.
It was the home town of MSV garu and his performing there was spe-
cial to all music lovers in town as well as to MSV garu himself.
Sansaya picked up his guruvu garu in his new Hyundai car and drove
carefully to the concert hall, dodging the people, vehicles and occa-
sional animals on the road.

MSV garu was of a huge build. Seated on the stage in simple cotton
garments, he seemed like a small mountain. As he began to sing, with
his eyes closed most of the time, music flew like a river – his AlApana
gently like the river in the plains and his kalpana swaras rushing like
impatient waters on rocks and in steep falls. As his audience listened
with rapt attention, the meaning and the feeling of the song ebbed and
fell in their hearts like youthful passion.

~7~
That day, MSV sang Thyagaraja‘s kriti bhaktuni caritramu in Raga
bEgaDa with great elaboration and feeling.

Sastry garu and Sansaya were discussing it as they drove back in the
dark night, with stars distantly twinkling and the moon playing hide and
seek with the clouds.

―You know, Sansaya, they say ―bEgaDa is like mIgaDa‖, Sastry garu
started.

―mIgaDa is the cream of boiled milk, right, mAshTAru? Why do they

make that comparison?‖, enquired the student – and went on reflec-
tively without waiting for an answer.

―…I do know that bEgaDa is not a sampUrNa Raga. It has only 6 notes
in the ArOhaNa, and all the 7 in the avarOhaNa. I also know that the
ascension is not straight, so it is called a vakra Raga. Let me think:
yes, it is ―sa ga ri ga ma pa da pa sa‖ in the ArOhaNa, with ni missing.
And ‗sa ni da pa ma ga ri sa‘ in the avarOhaNa….‖
Sastry garu continued, ―Actually, the Raga is supposed to be a janya of
dhIra SankarAbharaNam. However, some think that it should be
thought of as a janya of harikaambhOji, since there is much more pre-
dominant usage of the lower nishaadam in many of its characteristic
phrases.

The madhyamam in bEgDa is special, because it is a little higher in

swara-sthaana than the regular Suddha ma. In fact, it is sometimes
called ‗bEgaDa madhyamam‘.

You know, some of the characteristic phrases in bEgaDa are pa-da-ni-

da-pa, pa-ni-da-ni-pa-sa…. – they sound so pleading and give the raga
so much of its color….as also the unique prayOgam pa-ga-pa-ma-pa-
ga…‖

The flow was interrupted as they reached Krishna Sastry garu‘s home.

―nAyanA, Sansaya, come in, sit for some time and have some salted-
buttermilk before leaving‖, affection seeped from every word.

―mAshTAru, could we talk a little about the kriti and its meaning? I un-
derstood some, but it seemed like there was more to it‖, asked San-
saya, with reverence in his eyes, as he respected the vast knowledge
and wisdom of his guruvu garu.

After a prolonged pause, half-closing his eyes, Sastry garu began –

―You know, I find this song really interesting because, when I first

~8~
heard it and understood its meaning, it dispelled my then-notion of a
bhakta. I used to think of a bhakta as a blindly believing, un-inquiring
individual. This song, however, paints a bhakta as an intellectual - al-
most a philosopher.

See, this is how the pallavi goes: ―bhaktuni cAritramu vinavE, manasA
sItA rAma (bhaktuni)‖

As is typical of Thyagaraja‘s kritis, the pallavi is very simple and almost

just the title of the song that is to sprout and evolve – literally. Here he
is reflecting in himself (manasA) – listen to the account of a bhakta, a
bhakta of Sita and Rama.

The anupallavi sketches his premise and the essence of the intended
purport of the song. This part of the kriti also tends to be brief, so that
the composer has to work within a tight constraint of the two lines and
has to be parsimonious in the choice and use of words.

Here he says ―Asakti lEka tA kOrucu jIvanmuktuDai Anandamu nondu

(bhaktuni)‖

―Asakti lEka‖ is being dispassionate! ―tA kOrucu‖ is seeking one‘s own

self – ―jIvan muktuDai‖ is being liberated-in-life and ―Anandamu nondu‖
is acquiring bliss.

So, Thyagaraja is saying in the anupallavi ―(Listen to the account of)

the bhakta, who is dispassionate, who seeks self-knowledge, who
leads his/her daily life liberated and one who is naturally in a state of
bliss‖.

These are ideas almost directly referenceable to the Bhagavad Gita

and purely philosophical! There is nothing here about belief and the
common notion of devotion! Would you call such a person a bhakta or
a jnAni, really?‖ paused Krishna Sastry.

Suddenly curious, Sansaya returned a question ―Do you think bhakti

and jnAna are orthogonal and incompatible with each other, guruvu
garu?‖

―Don‘t know for sure – somehow one seems to be a complete surren-

der and the other choice-less inquiry. How can they be the same? Yet,
several great people have claimed their synonymity – including
Thyagaraja here, it seems! This bothers me and I just don‘t know for
sure‖.

~9~
He got up, walked over to the bedroom and returned with a blanket as
the night began to nip. Pregnant silence ruled for a while. The only
thing one heard was one‘s own breathing and ringing in one‘s ears. It
seemed rude to speak and break that pristine state of stillness.

―OK. Let me finish the rest of the kriti. Thyagaraja composed 3 beauti-
ful charanams for this song. They are lovely ideas of how a true bhatka
is supposed to be or naturally is – according to Thyagaraja.

―japa tapamula tA jEsitinana rAdu: He should not say that I did all these
japas and tapas

adigAka mari: And still

kapaTAtmuDu manamai palka rAdu: He should not speak with a heart

of deceipt

upama tanaku lEka yuNDavalenani, Ura Ura tirugaga rAdu: He should

not go place to place, desiring that no one equal him,
capala cittuDai, Alu sutulapai sAreku bhrama kArAdanE: He should not
be fickle minded and deveop false beliefs in familial bonds,

hari bhaktuni‖

See how Thyagaraja uses the phrase ―adigAka mari‖ – such a mun-
dane phrase that no one could imagine using it in musical setting – into
a magnificent musical structure!

The next charanam is:

bhava vibhavamu nijamani yencaga rAdu: He should not treat worldly

grandiose as being real,

adigAka mari: And still,

Siva mAdhava bhEdamu jEyaga rAdu: He should not develop distinc-

tions between Siva and Vishnu,

bhuvanamandu tAnE yOgyuDanani bonki poTTa sAkaga rAdu: He

should not achieve a livelihood by deceiving others by saying that he is
deserving,

pavanAtmaja dhRtamau sItA pati pAdamulanu yEmara rAdanu: He

should not let go of the feet of Sri Rama, steadfastly held by AnjanEya,
hari (bhaktuni)‖.

~ 10 ~
Finally, Thyagaraja concludes like this in the third and last charanam:

rajasa tAmasa guNamulu kArAdu: He should not develop rAjasa and

tAmasa qualities,

adigAkanu: further still

avyAjamunanu rA lEdanakArAdu: He should not worry that luck did

not favor him,

rAja yOga mArgamu nI cittamu rA jUcuTa viDavaga rAdu: He should

not stop trying to get his mind on rajayOga path,

rAja SikhA maNi aina tyAgarAja sakhuni marava rAdanE: He should

not forget the jewel among kings, Thyagaraja‘s friend, Sri Rama,
hari bhaktuni‖

See how Thyagaraja views a true bhakta to be! Although there are a
couple of references to traditional devotion to God, most of the quali-
ties Thyagaraja describes are those of an even-minded, impartial,
dispassionate, tranquil, spiritual person, seeking to find truth of one-
self and who is trying hard to not get caught in the dualities.

In fact, it reminds me of the Gita sloka, in which Arjuna asks Krishna

―sthita-prajnasya kaa bhaashaa, samaadhi-sthasya kESava; sthita-
dhiih kim prabhaashEta, kim asiita vrajEta kim?‖ - ―How is the lan-
guage of one whose intelligence is firmly fixed and one who is in the
state of Transcendence? How does one whose wisdom is firmly fixed
speak, sit and walk?‖. If I recollect correctly, it is the 54 th sloka in the
second chapter.

Krishna replies in the next sloka, ―prajahAti yadA kAmAn, sarvAn pAr-
tha manO gatAn; AtmanyEvAtmanA tushta: sthita-prajnas tadOcy-
atE‖ (meaning ―O pArthA, when a man gives up all varieties of sense
desire which arise from mental processes, and when his mind finds
satisfaction in the self alone, then he is said to be of unwavering wis-
dom‖), where Krishna extols the qualities of one of fixed mind or is
unwavering mind.‖

Sansaya was fascinated. ―You know, guruvu garu? From the way you
explained it, Thyagaraja should probably have composed the pallavi
as ―prajnuni cAritramu vinavE, manasA, sthitha (prajnuni)‖! Or even
better, ―muktuni cAritramu vinavE, manasA, jIvan (muktuni)‖ – it even
keeps the original rhythm -J. What do you think, mAshTAru?‖
Sansaya seemed cheekily pleased with himself.

~ 11 ~
Restraining a smile, Sastry garu chided his student mildly: ―nAyanA,
Sansaya, great people have said that human hands cannot improve
the works of the Saint. Do not touch them.‖

A while later, Sansaya took leave of his teacher and the car raucously
drove away into the night. A lone dog‘s cat-nap was disturbed and it
let out a long wail, as if annoyed or angry.

The author would like to acknowledge the help of Vasant Nagulaapalli

and Mani Subramaniam in reviewing and editing the article.
Prabhakar Chitrapu is a long time supporter of Sruti and is interested
in music, language and philosophy. He maintains a website devoted
to Saint Thyagaraja www.thyagaraja.org.

The Spirit of Thyagaraja Aradhana

Priyanka Dinakar

Thyagaraja Aradhana, an annual event held to honor Saint

Thyagaraja, is an event that everyone in this community looks forward
to; they get to meet their musically-inclined friends after a winter break
and listen to people sing.

The day starts with a short pooja, conducted by a priest or

someone that is familiar with the worship ritual. The Utsava Sam-
pradaya group and the Pancharatna groups then perform, after put-
ting in weeks of practice. But the most attended part of the program is
the individual participation. This is where each student gets to show-
case all of the hard work that they have put in for the past few months;
therefore, everybody attending is obligated to be there, listen, and
support the singers. Upcoming artists are sometimes invited to per-
form to get more experience with performing. But what do these se-
ries of events really symbolize?

The renditions should symbolize homage to Saint Thyagaraja

and keep the wonderful tradition alive. The Aradhana is held every
year in Thiruvaiyaru on the astrological day when Tyagaraja gave up
his physical body. The Thiruvaiyaru celebrations are now well
renowned with lots of media coverage. The Sruti Thyagaraja
Aradhana got started in 1987, the year after Sruti was founded. Every
year, music lovers eagerly await this event to sing themselves, or to
watch others sing. The music teachers put some thought to pick a
nice and if possible heavy composition of the composer to teach each

~ 12 ~
student or groups of students. The audiences wait to hear each of the
students and discuss their progression in musical learning since the
last Aradhana. If the participant delivers well, even more kudos to
them! Everyone should definitely come to support these participants
who have worked so hard to present the compositions. Students
must stay back to listen to their peers sing, encourage and cheer for
them. Because of the focus on individual participations, Aradhana
has shown signs of becoming more of a ―talent showcase day‖ than
an aradhana, which is defined as ―an act of glorifying God‖.

Today, let us forget trying to showcase all of our talent and

hard work and sing in remembrance of Thyagaraja, this great saint
who spent his life composing hundreds of masterpieces that have
brought so much joy and peace to the listeners and practitioners.

Priyanka Dinakar is a 9th grader at the Agnes Irwin School. She

learns Carnatic Music from Kiranavali Vidyasankar.

Blog Impressions
http://thyagaraja-vaibhavam.blogspot.com
Harish Bevinahally

Sri V. Govindan of Chennai has done a great service to Carnatic mu-

sic lovers through his blog. This is a content-rich, interactive resource
dedicated to saint Thyagaraja's works. It is simple, well organized,
and offers lyrics in several languages including English, Devanagari,
Telugu, Tamil, Kannada and Malayalam . For each Kriti in the blog,
Sri Govindan has provided a gist as well as full translation. I like the
word-by-word translation, which brings out the linguistic richness of
the kritis, and can serve as a great teaching aid.

For example, Thyagaraja sings the importance of devotion in

"sangeeta jAnamu bhakti vinA":

pallavi

sangIta jnAnamu bhakti vinA

san-mArgamu kaladE manasA

O My Mind (manasA)! Mere knowledge (jAnamu) of music (sangIta)

bereft of (vinA) devotion (bhakti) will not lead (kaladE) to the right path
(of God realization) (san-mArgamu).

~ 13 ~
 anupallavi

bhRngi naTESa samIraja ghaTaja

matanga nArada-Adulu-upAsincE (sangIta)

O My Mind! Mere knowledge of music –

worshipped (upAsincE) by bhRngi (a devotee of Siva), Lord naTarAja
- Lord (ISa) of Dance (naTa) (naTESa), AnjanEya – son of Wind God
(samIraja), sage agastya – born of pitcher (ghaTaja), matanga, nA-
rada and others (Adulu) (nAradAdulupAsincE),
bereft of bhakti will not lead to the right path (of God realization).

caraNam

nyAya-anyAyamu telusunu jagamulu

mAyAmayamu-ani telusunu durguNa
kAyaja-Adi shaD-ripula jayincu
kAryamu telusunu tyAgarAjuniki (sangIta)

Knowledge of music together with bhakti will lead to the right path of
(God realization) through which what is right (nyAya) and what is not
(right) (anyAyamu) (nyAyAnyAyamu) can be known (telusunu);
the truth that (ani) this universe (jagamulu) is of the nature (mayamu)
of illusion (mAyA) (mAyAmayamani) can be known (telusunu);
the method (kAryamu) of gaining victory (jayincu) over evil-some
(durguNa) six (shaD) (internal) enemies (ripula) - kAma (kAyaja) etc.
(Adi) (kAyajAdi) (kAma, krOdha, lObha, mOha, mada and mAtsarya)
can be known (telusunu);
O My Mind! To this tyAgarAja (tyAgarAjuniki) mere knowledge of mu-
sic bereft of bhakti will not lead to the right path (of God realization).

Sri Govindan has provided alternative interpretations of lyrics where

literal translation may often miss the true intent of the saint. Also
posted on the blog are variations in practice, and appropriate usage. I
found search feature on the blog a bit tricky, but works reasonably
well.

As a personal journal on the Worldwide Web, this blog contains posts,

making it interactive and interesting. You can read posts from others,
post your questions for Sri Govindan, or connect with other Carnatic
music enthusiasts. Sri Govindan is passionate about music, loves to
write, and has done a great deal of research to compile this blog for
the public to enjoy the great works of saint Thyagaraja.

Happy Blogging.

~ 14 ~
Please note that a printable version of Thyagaraja's kritis can be
found at: https://skydrive.live.com/?
cid=bbaf7e1ca0356380&id=BBAF7E1CA0356380%21433

Here is a schedule of events at the Cleveland Thyagaraja

Aradhana: http://www.aradhana.org/schedule.html

Articles on Saint Thyagaraja I found interesting to share with Sruti

members:
1. http://www.deccanherald.com/content/217438/straight-heart.html
2. http://www.bbc.co.uk/news/world-asia-india-16591093
3. http://www.karnatik.com/article007.shtml

Harish Bevinahally learnt vocal music from his father late BVN Murthy
and later from Prof. MA Narasimhachar in Bangalore. He learnt
Carnatic flute from CM Madhuranath, disciple of TR Mahaligam.
Harish performed in concerts and was a graded artist on AIR
Bangalore before coming to the US. Harish has been a Sruti member
for over 10 years and now resides in Exton, PA.

Common Courtesy at Concerts

Rasikan
(This article is being reprinted with the permission of the author, from a previ-
ous issue of the souvenir.)

Does audience behavior at music or dance programs depend on the

type of concert, venue, city, or other factors? Perhaps. It varies from
fairly casual to highly disciplined. Over the years, I have been troubled
by the conduct of some patrons at SRUTI events. But before we dis-
cuss that, let us look at patterns of audience conduct in two different
contexts: Carnatic music concerts in India and Western classical
music concerts in this country.

Recent issues of Sruti magazine from Chennai, India have carried

articles and letters to the editor regarding the lack of discipline exhib-
ited by audiences at Carnatic music concerts in India, and particularly
in Chennai. It is not unusual for patrons to walk in and out in the mid-
dle of performances, including an alapana or swaraprastharam. VIPs
are wont to barge in as they please and jostle past other people to get
to a seat in the front row. The artists are expected to acknowledge
their presence even if it means disrupting a complicated
swarakalpana. Perhaps the worst annoyance is the audience exodus
when the thani avarthanam begins.

~ 15 ~
[As an aside, I recently saw a cartoon in a magazine that showed the
mridanga vidwan carrying his instrument while the Secretary an-
nounced that for the benefit of the audience, ―today‘s thani avartanam
would be performed in the cafeteria‖!]
Frequent chatter, these days especially on cell phones, is another
common annoyance.

By contrast, those who attend Western classical music concerts in this

country know that doors close when the conductor begins the per-
formance, and late arrivals (even if only by a few minutes) may not
enter the concert hall until the piece being played has concluded.
There is typically also pin-drop silence in the auditorium. The silence
does not mean that the audience is not appreciating the music being
produced on stage; on the contrary, the pin-drop silence allows the
audience to be fully immersed in the music. In my observations, the
conduct of SRUTI audiences falls between the above two extremes.
Most concertgoers sit patiently through a concert, showing their enjoy-
ment and appreciation with frequent applause. But a few people do
wander in and out. It is understandably difficult to sit still for almost
three hours, but one would hope that those who need to leave would
do so (a) only after the alapana/swaraprastharam or between pieces,
and (b) not rush back to their seats, or even consider remaining in the
back of the hall for the rest of the concert in order to minimize their
disruption of others‘ enjoyment.

It is laudable that SRUTI audiences do not engage in mass exodus

during thani avarthanam. In fact, the audience does applaud delightful
mohras. Many visiting artists have expressed their appreciation of this
characteristic.

Unfortunately all this discipline seems to break down at other SRUTI

(community oriented) programs like the annual Thyagaraja Aradhana
and the SRUTI Day programs. These are events for which many
youngsters prepare hard and give of their best. That is good. What is
not good is that, almost immediately after some of them perform, their
parents whisk them away and leave the auditorium en masse. I am
sure the parents are proud to see their children perform to an appre-
ciative audience but do not show a minimal courtesy of staying behind
to hear other youngsters. This attitude can be observed among some
adults also, so much so the later artists perform to a nearly empty hall
except for the organizers and a few diehard patrons. In fact during the
Thyagaraja Aradhana of 2009, there were less than about a dozen
persons in the hall for the last singer and even less for the mangalam.
This is indeed very unfair to the performers.

~ 16 ~
I would earnestly appeal to all patrons to stay on after they or their
children perform and encourage others. This is the minimum that they
can do in return for SRUTI giving them a forum to exhibit their talents.

An ardent admirer and lover of Carnatic Music, Rasikan has been a

regular contributor and supporter of Sruti.

Where was Thyagaraja born?

Prabhakar Chitrapu

Most knowing people would immediately answer the above question,

saying tiruvaArUr – a small village near Tanjavur in Tamil Nadu state.
And most unknowing people would probably google and find the
same answer. I was like that too – until I read an article by Dr. M.
Balamuralikrishna. It was actually a preface he wrote to a book
―Thyagaraju - Rama darSanamu‖ by bhAshApravINa Dr.mulukuTla
brahmAnanda SAstri, which was published by nAgArjuna Printing &
Binding Works, tenAli, AP, India in 1987 [1].

Normally, most books and websites say that Thyagaraja was born
in tiruvaArUr and that his father moved to tiruvayyAr, when
Thyagaraja was about 5 years of age. There seems to be no dispute
that Thyagaraja lived the rest and most of his long life in tiruvayyAr.

Balamurali believes that Thyagaraja was born in tiruvayyAr, which

apparently means a ‗village of 5 rivers‘ and is referred to as
panchanada kshEtra/pura in Sanskrit.

Balamurali says that the reason for his belief is nothing less than the
fact that Thyagaraja himself states so in one of his compositions! The
composition in reference is nIku sari evvarE in Raga maNirangu. In
the beginning of the third and last charanam, Thyagaraja says
―pancanada puramuna janincina nA pApamula tIrcina praNatArthi ha-
ruDu” – meaning ―praNatArthi haruDu (Siva), who resolved the sins of
me – one born in pancanada puramu (i.e. tiruvayyAr). Pretty hard to
argue against this, seems to me!

Balamurali further claims that all the kritis of Thyagaraja‘s students

also makes the same mention that tiruvayyAr is the birthplace of the
Saint. I have not researched this matter, but if any of the readers
know any example, I would be grateful to be informed at
chitrapu1955@gmail.com.

~ 17 ~
Faced with such clear evidence to claim that tiruvayyAr is the right
answer, why does most literature claim the other thesis?

There is probably a good amount of supporting data for it. It would be

good to collect such evidence for the claim that tiruvaArUr is the
Saint‘s birthplace!

[1] ―Thyagaraju - Rama darSanamu‖

by bhAshApravINa Dr. mulukuTla brahmAnanda SAstri, published
by nAgArjuna Printing & Binding Works, tenAli, AP, India in 1987.

Tyagaraja’s Confessional Songs as

Epitomes of Repentance
Dr.William Jackson

In the sad notes of the raga Chakravakam, in a composition begin-

ning with the words "Etulabrotuvo teliya," Tyagaraja expresses the
mood of fear, or Bhayanaka rasa. The great singer-saint laments in
these lyrics that he has a ―despicable record of sins, detestable for the
ear‖ to hear. He is afraid, and doubts that Rama will give him refuge
and save him from his past deeds. Saying he has wandered like a
stray bull, caring about nothing but eating, flattering misers to make a
living, engaged in wicked acts while tagging along with other wicked
people, he bemoans his state of self-caused misery.

Someone taking the words in a completely literal sense might well

ask: ―Why would a pious saint write a song in which he confesses to
wasting his life in wickedness?‖ But in various religions we find state-
ments of confession, as if to help listeners reflect on their faults. Isn‘t it
like the words of Paul in an epistle he wrote: ―The good I would do, I
do not, but the evil I would not do, that I do.‖ Why else would dedi-
cated religious people sometimes talk about being sinners, seeming
to divulge wrongdoing?

Could it be that songwriters and those giving voice to the human

predicament at times dramatize the soul-searching which every hu-
man goes through at some time in his or her life? For example, Bob
Dylan in his song ―Lonesome Hobo‖ writes in the persona of a
vagrant, ―I have tried my hand at bribery, blackmail and deceit,/ And
I‘ve served time for everything except for begging on the street.‖ Dy-
lan himself did not do those things, but I think his lyrics confess those
faults in order to tell a story that engages listeners—

~ 18 ~
to speak of the human condition is to speak of the soul in extreme
states, of feeling happy, and feeling fearful, and feeling worried and
feeling guilty. It is a way of reflecting on the position where misbehav-
ing usually lands us.

Tyagaraja, in his songs of confession was bringing a deep thera-

peutic value to his music. There can be an unhealthy tension in carry-
ing around the faults we humans hide. Examination of conscience in
the individual and practicing ritual confession in a community, enu-
merating sins of one soul or considering the wrongs of humanity—this
theme is found in songs both East and West. Certain faiths also have
confession as a regular part of their tradition. The tradition of
Vaishnavism includes public confession, and there is the Day of
Atonement (Yom Kippur) in Judaism, and confession is found in Bud-
dhism also. Monks in early Buddhism confessed their sins before the
biweekly recitation of Patimokkha. Penance in Catholicism involves
the individual private confession of sins to a priest, usually in a con-
fessional booth. The catholic confession begins ―Bless me father for I
have sinned,‖ and ends with an act of contrition, asking forgiveness.
Anglicanism and Eastern Orthodox Christians also have the sacra-
ment of penance. These are a few examples.

Tyagaraja realized that to give voice to human failings, to elicit

our own memories and regrets, to confess our shortcomings and thus
transcend them is an understandable need. Harboring secrets can
poison a person‘s experience with feelings of guilt. In such a condition
we feel a need to make a ―clean breast‖ of things, to feel unstained, to
get burdens off one‘s chest. Not to dwell on one‘s sins endlessly, but
to admit them in order to go on, allows us to get on with life, unbur-
dened. Great bhakti singers such as Tyagaraja who give voice to the
predicaments of humanity serve to enliven our consciences. They
shed a light on our common shadow and cast a light on the path to
show the way. I will give a few examples of this.

In Ennallu tirigedi in Malavashri raga Tyagaraja speaks of the

feelings of hypocrisy. In Gattiganu nanu ceyi in Begada raga Tyaga-
raja speaks of being troubled by ego and pride. In another song, Toli
Janmama in Bilahari raga, he reflects on feeling alienated from God
and says ―Now I know my sins—and their results.‖ Other bhakti saints
have also left such soul-searching lyrics. It is not that they have per-
sonally committed all the sins they enumerate, but that they make a
deep musical art about human actions which are often kept hidden,
denied, covered by trickery of many sorts. Someone so free creatively
with spiritual imagination can eloquently dramatize the sins of man-
kind in order to call upon the consciences of forgetful listeners,

~ 19 ~
prodding us to examine our conscience and feel contrition.

Tyagaraja sang and asked for forgiveness in Aparadhamula

in Darbar raga: ―Infatuated with arrogance I have indulged in abusing
good men, almost as a routine of life. Without true devotion to your
holy feet, I have made a show to onlookers that I am a pious man do-
ing japa. I have mingled with women and wasted my time in gossip
with them but have not expatiated on stories of your glory which are
beneficient to my life.‖ If we took this too literally we would have to say
it was a lie—because his songs tell Rama‘s stories. Perhaps such a
writer blows up his smallest failings, saying as a human he is caught
in webs of desires and guilt. But I think he is saying that all souls are
likely to feel like hypocrites, with active lives come dramas of hopes
and failings.

In Pahi kalyana sundara in Punnagavarali raga, Tyagaraja

sings that he is not a learned person, not able to know what is wise,
and that he hasn‘t sung bhajans, but has wandered around vainly,
lollygagging around by rich folks‘ doors seeking support. Failing to
love the Lord‘s feet with devotion he sees he has squandered his feel-
ings on his family instead. He says he regarded worldly pleasures as
permanent, and failed to realize the worth of God‘s name, that he ran
after sense pleasures madly, confusedly committing incalculable
wrongs, but still asking, as if it is not clear, what fault it is that prevents
God from coming to him.

In the mood of feeling lonely and neglected, and sure that it is

his fault, he voices feeing distraught as he lists the bad conduct that
has disqualified him. Such songs also add an ethical dimension, de-
picting the misery and feeling of unworthiness that results from sin.
They urge listeners to make a resolve to be better, more dedicated
bhaktas in the future, and they unite us with the rest of humanity. As
C.G. Jung wrote: ―…with the help of confession I am able to throw
myself into the arms of humanity, freed at last from the burden of
moral exile.‖ To confess out loud in heartfelt tones can bring us re-
lease from guilty feelings, deliverance from troubling hard-to-bear
burdens.

Like Gandhiji, Tyagaraja realized that to appeal to the con-

science of others the pretention of perfection and superiority is not
useful. Instead, freely admitting one is guilty, that one shares common
failings, gives people hope that they too are akin to fellow strivers and
seekers like Tyagaraja and Gandhiji. It is depressing to feel alien, ex-
cluded and unworthy, and it is refreshing and uplifting to feel one is
like all others in needing to confess and be forgiven. It can be

~ 20 ~
cathartic to experience a burden being lifted from one‘s shoulders.
Confession is one theme in the bhakta‘s repertoire, not to be wal-
lowed in endlessly, but to be expressed as mood and necessity deter-
mine.

In Noremi Sri Rama in Varali raga, Tyagaraja says he is a

constant sinner, unable to control the six inner foes, always grinning
at females, lacking real devotion, so unjustified in blaming anyone
else. The gist of his song Ninnana valasina in Kalyani raga can be
stated as follows ―Since I‘m so blameworthy, why do I complain? Gos-
siping with the wicked, not hungering after a vision of the divine, not
engaging in humble service, becoming attached to a wife with a
dowry, not worshipping the Lord‘s feet but enamored of trivial worldly
pursuits, not recognizing how ephemeral wealth is, not performing
austerities, failing to hear divine stories which can dispel one‘s sins…
Since I‘m so blameworthy, what right do I have to complain?‖ Other
than with such self-critical reflections how can a lyric get through to
our basic human faults, touch our souls where we live?

Thus, such confessional songs have a therapeutic value be-

yond serving to caution us to avoid serious deeds which will ultimately
put us in a horrible predicament. To admit one‘s faults may not be not
easy, but in the long run it clears the air. It is humbling, and it brings
us back down to earth. As a verse in a Bob Dylan song advises:
―Swallow your pride—you will not die, it‘s not poison!‖ In fact, feeling
sorry, genuinely swallowing one‘s pride, could be an antidote to the
dangerous ills of hubris, blind ego-mania.

Our hidden, denied, chronically embarrassing shortcomings

are a part of our lives. To pretend they don‘t exist or that they have no
importance turns us into hollow cardboard phonies. Human life has a
dark side which must be reckoned with if we are to be whole and au-
thentic human beings. Tyagaraja wisely and soulfully sang of the dark
side, prodded listeners to reflect on their mistakes and to repent. His
songs served several purposes in doing so. Tyagaraja‘s songs of
confession help us feel that we are not alone.

Dr. William Jackson is a Professor of Religious Studies at Indiana Uni-

versity. He is the author of several scholarly books on Tyagaraja, in-
cluding ‘Thyagaraja: Life & Lyrics’.

~ 21 ~
 All About Carnatic
Kirena Manivannan

Unscramble each of the clue words. Unscramble the letters

that appear in the boxes for the final message.

Clues:
1. The five gems of Thyagaraja
2. Birth place of Thyagaraja
3. Ragam of the Jagadanandakaraka
4. Expression associated with a song
5. Part before Charanam in a song
6. Style of singing where the notes align with letters within
the lyrics
7. A person who composes Music and Lyrics
8. Homage to Thyagaraja
9. Concluding part of a concert

Master Clue: The most elaborate center piece of a concert!

Kirena is a 9th grader studying at Holicong Middle School. She is

learning carnatic music under the guidance of Mrs. Uma Sivakumar.

~ 22 ~
 Carnatic Crossword
Anshul Ramanathan & Aditya Peri

Across Down
2 Nadai with 4 maatras per beat 1 29th Melakartha Raga
5 The Eldest of the Trinity of 3 Composer of
Carnatic music (2 Words) Pancharatna Krithis
6 Name of the Fourth Chakra 4 Tyagaraja's birth place
8 Ragas containing all seven 7 Number of Aksharas for
swaras Sankeerna Jathi Dhuruva
11 Janya Raga with Anya (Foreign) Talam (2 words)
Swaras 9 Garland of Ragas
12 Concluding part of a Kriti 10 Hindustani Equivalent of
13 Extended Solo played by the Mohanam
percussionists in a concert
(2 words)
14 Melodic improvisation of a raga

~ 23 ~
Anshul is an 8th grader at Newtown Middle School. Aditya is a 9th
grader at Council Rock High School North. They are both learning Car-
natic music from Mrs. Uma Sivakumar.

The Indian Arts in America

Veena Kanumalla

Anyone can see that the atmosphere of India greatly differs than that of
the United States. People born and brought up in India often have
many advantages and opportunities that Indian American kids brought
up here do not have. In India, people are constantly surrounded by the
Indian culture. Whether it be music, food, language, or even clothing,
aspects of Indian culture are apparent everywhere there. When it
comes to Indian music or dance, some of the most complex art forms
to appreciate, Indian American kids have a serious disadvantage. In
Chennai, there are concerts and dance performances almost every
single day. One can simply look in the newspaper and immediately fill
their plans for the day with exciting cultural performances. I remember
going to Chennai for a month in June of 2010 and attending a perform-
ance almost every evening. From Sikkil Gurucharan, to Sanjay Subrah-
manyan, to Gayathri Venkatraghavan and many more, I experienced a
wide range of Carnatic music within such a short span of time.

Although there is a great distance between the two countries, there has
been a significant increase in the migration of Carnatic music from In-
dia to the United States. We even see Americans taking interest in In-
dian arts, and even sometimes seriously pursuing them. Organizations
like SRUTI have sprung up all over the country in the past 30 years,
allowing people to experience live performances of high caliber. Artists
are now able to perform in almost every major city in the country, due
to the interest and hard work of rasikas everywhere. This idea was al-
most unheard of during the mid-late 20th century; opportunities that
used to be rare are now available to the public.

This widespread interest in Indian art forms has been a great benefit
not only to music students like myself, but also to society in general.
Music and dance students are now able to see the application of what
they are studying on stage and better appreciate what they are learn-
ing. Dance productions and music concerts are easily made accessible
to connoisseurs that have great depths of knowledge in these areas.
Parents and children alike are able to experience ancient art forms ,

~ 24 ~
further broadening their awareness of their own heritage.

Although it is impossible to create the same atmosphere that India

has with regard to culture, SRUTI has done a wonderful job of expos-
ing the tri-state area to the Indian arts. Hopefully, in the coming years,
live programs will be even more frequent in the United States.

Veena Kanumalla is a 11th grader at Wissahickon High school and

has been learning Carnatic vocal music for almost eleven years. She
is currently under the tutelage of Smt. Kiranavali Vidyasankar.

What Credit Card is in your wallet?

Did you know that Sruti has partnered with Capital One
(one of the nation’s top ten largest banks) and now issues
Visa Credit Cards.

Sruti gets a one-time $50 payment plus 2% on gas and

groceries and 1% of other transaction amounts charged on
the card
Visit www.sruti.org and click on “Apply for Sruti Credit Card” to
complete the application.
As simple as that !!!

~ 25 ~
Answers to Crossword

Answers to Jumble
1. Pancharatnam
2. Tiruvarur
3. Nattai
4. Bhava
5. Anupallavi
6. Swaraksharam
7. Vaggeyakara
8. Aradhana
9. Mangalam

Master: RAGAM THANAM PALLAVI

~ 26 ~
 Sruti 25th Anniversary
Commemorative CDs
This 3-CD set is a collectors’ item containing songs
from almost 300 concerts that Sruti has presented
over the past 25 years, starting from the auspicious
first maiden concert on 14 Sep 1986 to the most re-
cent concerts during the Memorial Day weekend in
May 2011. The nearly 25 hours of the most creative
and melodious music have been carefully selected
from individual concerts and arranged in typical
concert formats in each of the 3 MP3 CDs.

$25/Set (Members Only)

Email srutiphila@gmail.com to
purchase this unique collection

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~ 27 ~