Tyagaraja Utsavam Musical Tribute to Sathguru Sree Thyagaraja

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TYAGARAJA UTSAVAM MUSICAL TRIBUTE TO SATHGURU SREE THYAGARAJA Panchayath/ Municipality/ Kozhikode Corporation Corporation LOCATION District Kozhikode Nearest Town/ Tali Mahakshetram – 130 m Landmark/ Junction Nearest Bus station Palayam Bus Stand – 600 m Nearest Railway Kozhikode Railway Station – 800 m station ACCESSIBILITY Nearest Airport Calicut International Airport – 26 Km Padmasree Mandapam Kallai Road, Tali Palayam Kozhikode – 673002 Phone: +91-495-2402565, Email: [email protected] CONTACT DATES FREQUENCY DURATION January-February (Pushya Bahula Annual 5 Days TIME Panchami) ABOUT THE FESTIVAL (Legend/History/Myth) The Tyagaraja Utsavam is a musical tribute to Sathguru Sree Thyagaraja. The festival is organized at the Padmasree Mandapam by the Tyagaraja Aradhana Trust, a carnatic music sabha based in Calicut. The three day event in the initial years has now grown into a full-fledged five day festival. Musicians from both within and outside Kerala eagerly wait to take part in the festival since it started in 1981. Tyagaraja was one of the greatest of music composers from South India and a musical prodigy. Known as the father of modern Carnatic music, his compositions are inspired and infused with Rama Bhakthi. He wrote his first song when he was hardly 13 and went on to compose the grandest songs ever written and two musical plays of unequalled beauty. Nearly 700 of his compositions are actively taught and practiced till date. International Over 10,000 RELEVANCE- NO. OF PEOPLE (Local / National / International) PARTICIPATED EVENTS/PROGRAMS DESCRIPTION (How festival is celebrated) The festival takes place around the Pushya Bahula Panchami dates which fall around January-February commemorating the date that Tyagaraja attained mukti. The events are conducted at the premises of the Padamashree Mandapam at Tali in Kozhikode. The festival provides a platform for music students and sangeeta rasikas to pay Vocal and Instrumental homage to great the great Sree Tyagaraja. Every year few Renditions of Tyagaraja devotees who pre-apply are allowed to either sing a Kritis. Tyagaraja Kriti or play it on an instrument to the Mass rendition of accompaniment of a mridangam and violin provided by the Pancharatna Kritis. trust. The compositions of Sree Tyagaraja are performed Anjaneyotsavam non-stop from 8.00 am up to 11.00 pm in the night. The Devotees’ Music early afternoon to late evenings consist of concerts of artistes invited to perform. Early morning Unchavriti, Nadaswaram performance, mass rendering of the Pancharatna Kritis in the mid-morning and the final Anjaneyotsavam into the early hours of the night are the prime highlights of the festival. .

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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages.
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Rakti in Raga and Laya
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Rakti in raga and laya Rakti in raga and laya’ is a swara-oriented as against gamaka- complex theme which covers a oriented raga-s. There is a section variety of aspects. Attempts have of exponents which fears that ‘been made to interpret rakti in the tradition of gamaka-oriented different ways. The origin of the singing is giving way to swara- word ‘rakti’ is hard to trace, but the oriented renditions. term is used commonly to denote a manner of singing that is of a Yo asau Dhwaniviseshastu highly appreciated quality. It swaravamavibhooshitaha carries with it a sense of intense ranjako janachittaanaam involvement or engagement. Rakti Sankarabharanam or Bhairavi? rasa raga udaahritaha is derived from the root word Tyagaraja did not compose these ‘ranj’ – ranjayati iti ragaha, ranjayati kriti-s as a cluster under the There is a reference to ‘dhwani- iti raktihi. That which is pleasing, category of ghana raga-s. Older visesha’ in this sloka from Brihaddcsi. which engages the mind joyfully texts record these five songs merely Scholars have suggested that may be called rakti. The term rakti dhwanivisesha may be taken th as Tyagaraja’ s compositions and is not found in pre-17 century not as the Pancharatna kriti-s. Not to connote sruti and that its texts like Niruktam, Vyjayanti and only are these raga-s unsuitable for integration with music ensures a Amarakosam.
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Pahi Rama Ramayanucu-Kharaharapriya
Transliteration–Telugu _______________________________________________________ Transliteration as per Modified Harvard-Kyoto (HK) Convention (including Telugu letters – Short e, Short o) - a A i I u U 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 y r l L v S sh s h pAhi rAma rAmayanucu-kharaharapriya In the kRti ‘pAhi rAma rAmayanucu’ – rAga kharaharapriya, SrI tyAgarAja describes the compassion of the Lord towards his devotess and pleads for the same towards him too. P pAhi rAma rAma(y)anucu bhajana sEyavE C1 kanikarambu kalgi 1sItA kAntuni kanagA manasu ranjilla palkE madana janakuDu (pAhi) C2 2valvalu diddi saumitri valaci nilvagA kaluva rEkulanu kEru kanula jUcenu (pAhi) C3 bharatuD(A) vELa karagi karagi nilvagA karamu paTTi kaugilincE varaduD(a)ppuDu (pAhi) C4 3caNDa SatrughnuD(a)ppuD4(a)khaNDa vRttitOn- (u)NDa santasillE kOdaNDa rAmuDu (pAhi) C5 manasu telisi kalasi hanumantuD(u)NDagA canuvu mATal(A)Duc(u)NDE sArvabhaumuDu (pAhi) C6 5vIri karuNa kaligi(y)epuDu velasi(y)undunO sAramaina bhakticE san-nutintunO (pAhi) C7 6dharm(A)rtha kAma 7mOksha 8dAnam(E)lanE 9marmam(e)ruga lEni 10indra Sarmam(E)lanE (pAhi) C8 bAga karuNa jEsi(y)epuDu bhavyam(o)sagunO tyAgarAju 11cEyi paTTi dayanu brOcunO (pAhi) Gist Chant the names of Lord repeating ‘protect me, O Lord rAma, O Lord rAma’. 1. When sItA looked at her beloved with kindness, SrI rAma spoke to her to the exultation of her mind.
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Tyagaraja Aradhana 2007 S R U T I the India Music & Dance Society
SRUTI, The India Music & Dance Society Board of Directors President Ramana Kanumalla 610-277-8955 President-elect C. Nataraj 610-687-4565 Treasurer Venkat Kilambi 610-631-2291 Tyagaraja Aradhana Secretary Sridhar Santhanam 2007 610-831-1806 Director, Resources & Development Uma Prabhakar 215-616-0486 Director, Publications & Outreach Vidyasankar Sundaresan 215-310-1783 Director, Marketing & Publicity Srinivas Pothukuchi 215-364-2089 Director 1 Revathi Sivakumar 215-661-8521 Director 2 Ravi Pillutla 610-539-8686 COMMITTEES Resources & Development Publications & Outreach Uma Prabhakar Vidyasankar Sundaresan 215-616-0486 215-310-1783 C. Nataraj Raman Visweswaran 610-687-4565 610-647-7822 Ramaa Nathan Rungun Nathan 610-668-3691 610-668-3691 Usha Balasubramanian S R U T I 215-699-2827 Venkat Kilambi The India Music & Dance Society 610-631-2291 Philadelphia, PA About the Artistes of the Evening Jayalakshmi Sekhar learnt music from her father, C. S. Krishnaswamy, and formally trained on the Veena under Pudukkottai Jayarama Iyer. Since 1994, to enhance her vocal CONTENTS (Gayaki) style of Veena playing, she has been receiving ad- vanced training from Sangita Kalanidhi Sripada Pinakapani. Editor’s Note 1 She is also proficient on the violin and flute and over the last ten years, has performed at major venues in India, USA, Es- Program 2 tonia, Germany, Australia, Malaysia and Singapore. She re- ceived the 1998 Gottuvadyam Narayana Iyengar Award from Acknowledgements 3 the Krishna Gana Sabha in Chennai in 1998 and the 2000 prize for Veena at the Sri Tyagaraja Festival in Tirupati. A Sloka on Tyagaraja Walajapet Venkataramana Bhagavatar 4 Suresh Ramachandran (Mridangam) is a disciple of Tiru- vaiyaru V.
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Rama Nee Samana
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I Menu Kaligina-Varali.Pdf
Transliteration–Telugu _______________________________________________________ Transliteration as per Modified Harvard-Kyoto (HK) Convention (including Telugu letters – Short e, Short o) - a A i I u U 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 y r l L v S sh s h I mEnu kaligina-varALi In the kRti ‘I mEnu kaliginanduku’ – rAga varALi (tALa Adi), SrI tyAgarAja states that having embodied as a human being, it is essential to chant the name of SrI rAma. P I mEnu kaligin(a)nduku sItA rAma nAmamE palka valenu A 1kAm(A)di dur-guNa stOma pUritamaina pAmaratvamE kAni nEmamu lEn(a)TTi (I) C1 saMsAramunu brOva dArini para- hiMsa jendu 2kirAtuDu 3haMsa rUpula gatin(a)Duga rAma nAma praSaMsa jEsi upadESinca 4dhanyuDu kAdA (I) C2 tApasi SApam(i)DagA 5jal(O)raga rUpamu koni(y)uNDaga tApamu sairincaka tallaDillaga Sara cApa dharuni nAma SravaNamu brOva lEdA (I) C3 kari rAju teliya lEka baluDaina makari cEta gAsi jendagA 6ara lEka 7nijamuna(n)Adi mUlam(a)naga varaduDu vEgamE vacci brOvaga lEdA (I) C4 8Agama vEdamulanu dAnavuDu kompOvagA catur(A)nanuDu tyAgarAja nuta tAraka nAma(y)ani bAguga nutimpa bhayamu tIrpaga lEdA (I) Gist For this body having come into being, one should only chant the name of Lord sItA rAma. This body is nothing but wretchedness replete with evil-some qualities like desire etc.
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Rama Katha Ragam: Madhyamavati {22Nd Melakartha (Kharaharapriya
rAma kathA Ragam: madhyamAvati {22nd Melakartha (Kharaharapriya) Janyam} ARO: S R2 M1 P N2 S || AVA: S N2 P M1 R2 S || Talam: Adi (2 kalai) Composer: Tyagaraja Swami Version: T M Krishna Lyrics Courtesy: Lakshman Ragde Meanings Courtesy: V. Govindan, Tyagaraja Vaibhavam Site (http://thyagaraja-vaibhavam.blogspot.in/2009/03/tyagaraja-kritis-alphabetical-list.html ) Pallavi: rAma kathA sudhArasa pAnam oka rAjyamu cEsunE Anupallavi: bhAmAmaNi jAnaki saumitri bharatAdulatO bhUmi velayu sItA Charanam: dharmAddakhila phaladamE manasA dhairyAnanda saukhya nikEtanamE karma bandha jvalanAbdhi nAvamE kaliharamE tyAgarAja vinutuDagu Meaning: (Courtesy: V. Govindan, Tyagaraja Vaibhavam) Gist O My Mind! To drink the nectarine juice of story of SrI rAma - praised by this tyAgarAja- who shines on the Earth along with jAnaki, lakshmaNa, bharata and others, is equal to (ruling) a kingdom. (a) it indeed bestows the fruits of purushArtha; (b) it is the veritable abode of courage, bliss and comfort; (c) it indeed is the boat which enables one to cross the flaming ocean of Worldly Existence – bound by actions; (d) it indeed is the destroyer of the (evil effects of) kali yuga. Word-by-word Meaning P: To drink (pAnamu) the nectarine (sudhA) juice (rasa) of story (kathA) of SrI rAma is equal (jEsunE) to (ruling) a kingdom (rAjyamu). A: To drink the nectarine juice of story of SrI rAma, who shines (velayu) on the Earth (bhUmi) along with jAnaki - a jewel (maNi) of women (bhAmA), lakshmaNa - son of sumitrA (saumitri), bharata and others (AdulatO) (bharatAdulatO),
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Carnatic Music Theory Year Ii
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Narada Gana Lola
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Todi and Tyagaraja
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Todi and Tyagaraja (Edited excerpts from a lecture- singers of the Divya Prabandham, the demonstration for the Saraswati Vaishnava hymns. Vaggeyakara Trust held at the Narada RAJAM S. Such is the mystery that surrounds Gana Sabha on 21 December 2003). the origin of Todi. Nevertheless, for n Carnatic classical music, Todi centuries, Todi has captivated the is a major raga with ample scope souls and imagination of generations for elaboration and extensive of musicians and composers by its creativity. Though the exact period sheer ocean-like depth and vastness. I It has spawned more than 20 janya of its origin is not known, it can surely be said that through the last raga-s. In practice, no other raga three or four centuries it has grown yields itself so generously to so much and developed so much that today improvisation as Todi does. Every it is one of the most prominent and part of its progression allows endless scope for elaboration. It is a common important raga-s of Carnatic music. practice to elaborate Todi with The evolution and establishment varja prayoga-s (skipping of notes). of Todi as a magnificent raga was This is especially popular among largely enabled by great musicians nagaswara vidwans. and vaggeyakara-s.
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Indi@Logs Vol 1 2014, Pp
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Kana Kanaruchira
Kana Kanaruchira Ragam: Varali Talam: Adi Tyagaraja General meaning: By looking at your divine innocent face daily one can get more and more happiness. Maharishi Hanuman,, Sita, Indira, Devas, Purandara made their heart pure by looking at your ornament decorated form. Please include me also in that lot, you have attracted everyone alike!! Is it not beautiful to watch Sita blush and treat the lord like a new groom and stand dumbfounded. You gave salvation to five year old Dhruva who was ill treated by his stepmother, Will you not shower your grace on me?? I am fully confident that someday I will receive your grace. Pallavi : Kana kana ruchira Kanaka vasana ninnu Kana: to see Kana kana: to see repeatedly Ruchira: tasteful! Kanaka: golden Vasana: clothing Ninnu: you [Meaning: The wearer of golden clothes! It is a an endless pleasure to see you] 1. ; ; P , p ; P , M , | pmG G ; G R R S || Kana ka na ru -- chi ra - - - ; ; S S N – N R S | N ; G ; ; ; ; ; || Kana - ka va- sa- na 2. ; ; P , p ; P , M , | pmG G ; G R R S || Kana ka na ru -- chi ra - - - ; ; S S N – N R S | N ; G ; G ; mpdp || Kana - ka va- sa- na ni nnu - - 3. M ; P , p ; P dn dp P , | pmG G ; G R R S || Kana ka na ru -- chi ra - - - ; ; S S N – N R S | N ; G ; G ; mpdp || Kana - ka va- sa- na ni nnu - - 4. mPm- P , p ; D sn dp P , | pmG G ; G R R S || Kana ka na ru -- chi ra - - - ; ; S S N – N R S | N ; G ; G ; mpdp || [ONCE] Kana - ka va- sa- na ni nnu - - 5.
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