CHAPTER- 4

ANALYTICAL STUDY OF THE EMINENT

WORK SANGITA SAMPRADAYA

PRADARSINI

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described m this book. The first hand information of this

book is very useful to the next generation. He writes about

the commentators on Sangita Ratnakara.

The patronage given by Kings to many composers is

also mentioned. The proficiency m languages, the mudras and

the special abilities of the composers have been described m

this section. The rare contributions of great personalities m

music also have been recorded.

For example: Subbarama Dikshithar mentions that

Venkatamakhi also wrote 24 ashtapadis on Sri Tyagaraja similar

to the Gita govinda of J ayadeva.

The wonders m the life of some composers are

mentioned. For example: The miracles that took place m the

life of Srinivasa, Kavi Matrubhutayya etc.

There is also given an interesting incident by defeated

jealous persons through knowledge and ability. For example:

The incident described in the life history of Kshetrayya.

The famous disciples of Tyagaraja and Muthuswami

Dikshithar are mentioned m this part. The Telugu padas

written by famous

also dealt with. A

Vaggeyakaras.

composers based

sub- heading is

on snngara rasa are

given for Dravida

Except the members of Dikshithar family and the Ettayapuram

rulers, a brief description of other great personalities given in the

Vaggeyakara charitram, of the work "Sangita Sampradaya Pradarsini" is

dealt here.

70

19. VIRABHADRAYYA

He was a Telugu trilinga Brahmin. He· was a great

lyrics writer. Among the Emperors of Maharashtra,

Pratapasimha was the most intelligent King, a genius in arts

and a generous and lovable who helped all the needy. Hearing

about his generous character Virabhadrayya travelled Venneti

gatta and later to see the king. One day the King himself

came to his room and listened the music of Virabhadrayya

and gave him many gifts. He took him to Tanjavur and gave

him a house to live m. From that time onwards

Virabhadrayya adopted the 'Prataparama' mudra, the name of the

presiding deity of Tanjavur. He composed a number of songs

m many rakti ragas. He composed darus, padas and tillanas on

Emperor Pratapasimha.

20. KA VI MATRUBHUTA YYA

He was a trilinga Brahmin and a scholar m Music

and Telugu. He lived m Tiruchinapalli. He was an ardent

devotee of Sugandhi Kuntalamba. By Goddess's grace he

composed many devotional kritis and padas. He also wrote a

drama called "Parij atapaharanam". His stamp signature IS

'Trisiragiri'. When Matrubhutayya sang songs before Goddess

(particularly the song 'Kasi ppanamevalenamma') the Goddess

appeared m his dream and told him to go to Pratapasimha

m Tanjavur and he would certainly get rid of his poverty.

The Goddess also come m the dream of Pratapasimha and

wanted to help her devotee. The King very much pleased

78

great musical achiever than his father. He lived during the period of

.· d,cSarabhoji Maharaja. 1

;::J,:�24. SY AMA SAS TRI

The parents of Syama Sastri were devotees of Sri

Kamakshidevi. As they have no son, they offered devotional

offering to Venkatachalapathy. In the year AD 1763 Syama

sastri was born to these devoted Brahmins. At Tiruvarur,

i\\,�even in childhood he became an expert in the languages of ,'·?

Sanskrit and Telugu. He learned all the intricacies of musical

grammar and lyrics from the saint Sangita Swami at Tanjavur.

The saint blessed him that he would become very famous in

studied music from Adiyappaiyya for sometime.

"Syamakrishna" was his mudra. He composed· many kritis,

swarajatis and tanavarnas. Lyrical beauty, poetic felicity and

intricate tala patte1n are the special qualities of his

compositions. He had two sons. Out of them, the second son

Subbaraya sastri was a scholar in Sanskrit, Telugu and Music

like father. He also composed many kritis and swarajatis. The

talented music composer Annaswami Sastri, is the grandson of

· Syamasastri.

25. GURUMURTHY SASTRI

He was a Trilinga Brahmin

I was born m Tirunelveli and

sastrams. He was very talented 'ft�

•

;Jj writer of Gitas, Prabandhas and

of Muriki nadu sect. He

well versed m Chatur

m Music and exceptional

Kirtanas. He was expert m

raga alapana and younger contemporary of Ramaswami

Dikshithar.

80

49. PARIMALARANGA

An expert writer of padas, his padas consists of

poetic beauty, rhythm and diction with the mudra "Parimalaranga".

He lived near Chennapattanam.

50. SARANGAPANI

He was a pada composer. Sringara, hasya are the

dominant rasas he dealt with in the padas. "Venugopala" 1s

the mudra used . for his compositions. He was a Telugu

Brahmin from Northern country.

51. MERA TTUR VENKA TARAMA SASTRI

He lived m the village Merattur near Tanjavur. He

lived during the time of Sarabhoji Maharaja. He was a

scholar in Telugu language. His padas were adorned with

beautiful expressions and the dominant rasa is snngara.

52. TELUGU P ADA COMPOSERS (SRINGARA RASA)

Name

1. Ghatapalli

2. Bollapuram

3. Jatapalli

4. Sobhanagiri

5. Inukonda

6. Sivaramapuram

7. Vemamgi

8. Mallikarjuna

Mudras

Kailasapati

Bollavaram

J atapalli gopala

Sobhanagiri

Inukonda vijayarama

Sivaramapuram,ramapuram

Venamgi

Mallikarjuna

.;Jhey are Telugu Brahmins from Andhra.

88

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3. Elanamnne cevu Pumachandrika Rupaka RamaswamiDikshithar 4. Entanine Khamas Tisraeka Subbarama Dikshithar

I virahame Nilambari Ata Purvikar , . .6. Rammanave Hindolam Ata RamaswamiDikshithar

· 7. Rupamu juchi Todi Adi MuthuswamiDikshithar 8. Sarni nine kori Sriranjani Adi RamaswamiDikshithar

. Samiyentani Suruti Adi SubbaramaDikshithar

?)10. Sareku Anandabhairavi Adi SubbaramaDikshithar

. '·:11. Sri Kamalamba Manohari Adi RamaswamiDikshithar 12. Valachi vachi Hindolavasantam Rupaka RamaswamiDikshithar

Vamsavati Adi Bal uswamiDikshithar,

MuthukumaraPulavar

There are '27' tana vamas are included in Sangita Sampradaya radarsini.Subbarama Dikshithar says that tanavamas are usually sung in adhyamakala or medium tempo. Subbarama Dikshithar has to his

;·y��credit '8' tana vamas.The other Tana Varna composers whose�-'-:�;}i Wlcompositions presented are Vina Kuppayyar (5), Pallavi Gopalayyar (3), .· •'>·

}tJKuvanasamayya (1 ), Tiruvarur Ayyaswami Nattuvanar (1 ), ',�SontiVenkatasubbayyar(2 ), Govindasamayya(2 ), Syamasastri( 1 ), :�-:�;-.

Tirunelveli Vengu Bhagavatar ( 1 ), Ramaswami bikshithar ( 1 ), Baluswami Dikshithar ( 1) and Pachimiriyam Adiyappaiyya ( 1 ). LIST OF TANA VARNAS

Sahitya Raga Tala Composer

. 1. Amaguvaninne N arayanagaula Ata Vina Kuppayyar 2. I intachalamu Kambhoji Ata Pallavi Gopalayyar 3. Intachalamu Begada Adi Vina Kuppayyar 4. Intaluka Nattakkuranji Ata Kuvanasamayya 5. Intamodi Darbar Ata SubbaramaDikshithar

97

LIST OF P ADAS

Sahitya Raga Tala Composer

1. Adiyaramba Todi Adi KatigaiMukku Pulavar,

(Swarasthana pada) Baluswami Dikshithar

2. Aligite Husani Triputa Kshetrayya

3. Caracaturai Sama Triputa Baluswami Dikshithar,

(Dravida pada) MukkuPulavar

4. Chollakkel Sriranjani Misraeka Mukku Pulavar

(Dravida pada)

5. Daniprayamu Kalyani Adi Sarangapani

(Swarasthana Pada)

6. Ekkadiki poyya Bhairavi Adi Kuppuswami Ayya

7. Emdukuyi Kambhoji Misraeka Venkateswara Ettappa

8. Imdemduva Begada Misraeka Subbarama Dikshithar

9. Innallavale Paraju Adi Prachina pada

10. Intapperumai Malavasri Misraeka Mukku Pulavar

(Dravida pada)

11. Inticakkadana Mohanam Adi Matrubhutayya

12. Mosamaye Ahiri Misraeka Pollavaramuvaru

13. Nanupari Tanukirti Khandatriputa Manali Chinnayya

Mudaliyar

14. Natironinnu Nattakkuranji Triputa Prachinar

15. Parikkani Kalyani Tisraeka Subbarama Dikshithar

(Swarasthana pada)

16. Sivadiksaparu Kuranji Adi Ghanam Sinayya

17. Teliseni Husani Adi Kshetrayya

18. Tomdaravida Saindhavi Misrachapu Kshetrayya

19. Vadarakapo Kambhoji Ata Kshetrayya

20. Vaddante Paraju Rupaka Kuppuswami Ayya

99

The pada 'Emdukuyi', set in Kambhoj i raga, was composed by

Maharaja of the time Venkateswara Ettappa in the form of a question­

answer conversation between Lord Muruka and Valli appeared as an

elephant and caused concern for Valli.

PRABANDHA

In this musical presentation, the varieties such as Desiya

prabandha (Kapay), Kaivara prabandha, Lakshya prabandha, Umatilaka

Prabandha and Sriranga prabandha are included in Sangita Sampradaya

. Pradarsini of Subbarama Dikshithar.Among the '1 O' prabandhas, six are I

composed by Venkatamakhi. Ramaswami Dikshithar (1), Purvikar (2)

and Ramananda Y ati ( 1) are also included .

.. · LIST OF PRABANDHAS

Sahitya Raga Tala Composer

1. Chandasela Hamsadhvani Matya RamaswamiDikshithar

(Lakshya prabandha)

2. Drigdudhim Chalanata Rupaka Venkatamakhi

3. Jaya jaya Gauri Dhruva Ramanandayati

4. s, s mgr s Mechabauli Triputa Venkatamakhi

(Umatilaka prabandha)

5. S s n n d d p m Husani Eka Venkatamakhi

(Umatilaka prabandha)

6. Tattad gita Paraj Adi Purvikar

(Desiya prabandha)

7. Tattaittaiyya Y amunakalyani Adi Purvikar

(Desiya prabandha)

8. Tkat kato Gaula Jhampa Venkatamakhi

9. Todgi dam Narayanagaula Matya Venkatamakhi

(Kaivara prabandha)

10. Uddhataripuja Bauli Eka Venkatamakhi

(Sriranga prabandha)

100

DARU

\.-\.� U 1·.· 1-!_t,f� � '-,1/r\�

/_.. a., ( 1. I 1/ ,�·-,._,�'·--., '-t��i

u131 I f / H:r f. �:-' \ ·f':; Daru is like a pada but sung in a faster tempo. The · :_�g�pul¥ � ,,./ � �;'

. darn of Muthuswami Dikshithar 'Nisatidaivamentu' set in - 'A: -·�-��

raga is also notated in this work. Apart from this, there 1s other '5' darus are seen. It is interesting to note that all of the darus are

};-i \ composed by the members ofDikshithar family. LIST OF DARUS

Sahitya Raga Tala Composer

I. Nive rasika Rudrapriya Adi BaluswamiDikshithar

2. Nisatidaivame Sriranjani Rupaka MuthuswamiDikshithar

3. Sarasagre Natanarayani Tisraeka SubbaramaDikshithar

4. Sarasanaya Gangatarangini Tisraeka RamaswamiDikshithar

. 5. Sri Karudani Yadukulakambhoji Adi Subbarama Dikshithar

6. Samikisari Vasanta Rupaka BaluswamiDikshithar

In the daru in Gangatarangini raga in tisraeka tala, both the dhatu and matu form palindromes, like sarasa nayana sarasa. For example:- The pallavi is,

s,, r s m g m s r s , I sa ra sa na ya na sa ra sa I

SWARAJATI

s ,, n d p p d n s,11 sa ra ta ra ra ta ra sa II

The swarajati originated as a dance form with jatis. Including the three swarajatis of Syama Sastri, Subbarama Dikshi� also lights on the swarajati of Adiyappaiyya. The five swarajatis shown in Sangita Sampradaya Pradarsini are seen below.

101

TILLANADARU

This musical form is like the Tillana with the angas pallavi,

anupallavi and charana.But the major portion of Tillana daru consists of

words on the model of daru with a few jatis. Therefore it is a misra

prabandha.The only one composition notated in Sangita Sampradaya

Pradarsini is composed by Krishnaswami Ayya.

Sahitya Raga

Nadiridani S uruti

JATISWARA

Tala

Adi

Composer

Krishnaswami Ayya

There is only one jatiswara is seen in Sangita Sampradaya

Pradarsini. It is composed by Subbarama Dikshithar in Y amunakalyani

raga.

s d,p,m -Yamunakalyani -Adi tala

SWARASTHANA VARNA

Subbarama Dikshithar recorded only one of this type and is

composed by Ramaswami Dikshithar, the great grandfather of Subbarama

Dikshithar. This Swarasthana V ama follows a format similar to that of a

kriti, with pallavi, anupallavi, charana and muktayi swara after the

charana.

s r g, n T odi raga - Adi -Ramaswami Dikshithar

The swara and sahitya are identical all through, except the charana

line where the name of the royal patron appears.

For eg: - In the pallavi

s r g,n d,n . . .

sari ga ni da ni

II p, m r

II pa ma ri

103

In n ,, p d Ii . .

, .

I nini pa da II!

This composition is in praise ofManali Chinnayya Mudaliyar.

RAGAMALIKA

Anubandham 'A' of the great work Sangi ta Sampradaya Pradarsini

consists of '16' Ragamalikas.Among these ten compositions of

Subbarama Dikshithar, two of Muthuswami Dikshithar and four of

Ramaswami Dikshithar are given m musical presentation.The

incomparable ragamalikas '108' Ragatalamalika and Chaturdasa

ragamalika are also included.

LIST OF RAGAMALIKAS

Sahitya

1. Endukurara

2. Garavarnu

3. I kanakarnbari

4. Karnimcina

5. Manasaveri

6. Manatodi

7. Natakadi

8. Nisarile

9. Priyarnuna

::, 10. Purnachandra ?_;

! :�: ::�:hanat.· 13. Sriviswa

14. Valapumiri

15. V anitaro

16. Vedukato

Raga

9 ragas

9 ragas

72 ragas

32 ragas

13 ragas

6 ragas

Tala

Rupaka

Rupaka

Adi

Tisraeka

Rupaka

Adi

108 ragatalarnalika

9 ragas

10 ragas

6 ragas

20 ragas

44 ragas

14ragas

4 ragas

4 ragas

5 ragas

Tisraeka

Tisraeka

Rupaka

Adi

Adi

Adi

Rupaka

Rupaka

Rupaka

Composer

SubbararnaDikshithar

SubbararnaDikshithar

Subbararna Dikshithar

SubbararnaDikshithar

RarnaswarniDikshithar

SubbararnaDikshithar

RarnaswarniDikshithar

SubbararnaDikshithar

SubbararnaDikshithar

MuthuswarniDikshithar

RarnaswarniDikshithar

RarnaswamiDikshithar

MuthuswarniDikshithar

SubbararnaDikshithar

S ubbararnaDikshithar

SubbararnaDikshithar

The ragamalikas of Muthuswami Dikshithar and Ramaswami

Dikshithar are in praise of the divine deity. But the ragamalikas of

104

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LIST OF RAGAS

Abheri Devagandhari Hamveeru Lalitapancharnam

Ahiri Devakriya Hindolam Malahari

Amritavarshini Devamanohari Hindolavasantam Malavagaula

Anandabhairavi Devaranji Husani Malavasri

Andhali Desisimharavam Isamanohari Malavapanchamam

Arabhi Dhalivarali Jaganmohanam Madhavamanohari

Ardradesi Dhamavati Janatodi Madhyamavati

Asaveri Dhanyasi Jayasuddhamalavi Mahuri

Atana Dhavalanga Jhankarabhramari Mangalakaisiki

Balahamsa Dhautapanchamam Jivantika Manirangu

Bauli Dhirasankarabharanam Joti Manji

Begada Dhunibbinnashadjam Jujavanti Manohari

Bbanumati Erukalakambhoji Kalavati Manoranjani

Bbairavam Gamakakriya Kedaram Margadesi

Bhavani Gangatarangini Kiranavali Maruva

Bbairavi Ganasamavarali Kambhoji Margahindolam

Bhinnapancbamam Gaudipantu Kanakambari Mechabauli

Bhogachayanata Gaula Kannada Megharanjani

Bhupalam Gauri Karmadagaula Mohanam

Bhushavati Gaurivelavali Karuiadabangala Mohananata

Bilahari Geyahejjajji Kapi Mukhari

Brindavani Ghanta Kasira.makriya Nabhomani

Chalanata Gitapriya Kokifaravam Nadaramakriya

Chamaram Girvani Kumudakriya Nagabharanam

Chaturangini Gopikavasantam Kwanji Nagadhvani

Chayagaula Guntakriya Ku.sumakara Nagagandbari

Chayavati Gwjari Kumbhini Nagavarali

Chayararangini Harikedaragaula Kuntala Namadesi

Darbar Hamsadhvani Lallira Narayani

Narayanagaula Pumapanchamam Saurashtram Sri

106

N arayanadesakshi Purvavarali Saugandhini Sriranjani

Nariritigaula Purvi Sauveera Stavaraja

Nasarnani Purvagaula Senagrani Suddhadesi

Natabharanam Ragachudamani Sindhuramakriya Suddhadhanyasi

Natanarayani Ramakali Sivapantuvarali Suddhasaveri

Nattakkuranj i Ramamanohari Salagabhairavi Suddhavasantam

Navaroj Rasamanjari Salanganata Sumadyuti

N avaratnavilasam Ratipriya Samala Suruti

Nayaki Ravikriya Samanta Takka

Nilarnbari Revagupti Santakalyani Tanukirti

Nishada Rudrapriya Santanamanjari Tarangini

Padi Rupavati Saranga Udayaravichandrika

Paraju Sahana Saravati Vamsavati

Phenadyuti Sama Sarasvatimanohari Vasanta

Punnagavarali Saindhavi Saveri Viravasantam

Purnachandrika Sailadesakshi Saurasena Yamunakalyani

(C) MUSICAL ASPECTS

In this section an attempt has been made to examine the musical

embellishments found in Subbarama Dikshithar's compositions. He had

an inborn talent in composing various musical forms which he nurtured

and developed properly by his own effort and the support given from

Baluswami Dikshithar. His kritis and other musical forms combine in

them literary and musical excellences. The decorative angas of kritis and

how they are figured in the kritis of Subbarama are briefly done in this

part.

Sangathis

Sangathis are variations on a musical theme, developed step by

step. Each sangathi is an evolution from the preceding one and marks an

107

I" t

improvement upon it. They are highly enchanting and serve to tone up thet entertainment value of a musical composition. Sangathis heighten the

raga bhava and artha bhava in kritis.

Subbarama Dikshithar has introduced excellent sangathis in his

kritis.

Example

1. The pallavi of"Tripurasumdari" in Nattakkuranji (10 sangathis)

2. The pallavi of "Sankaracaryam" in Sankarabharana raga (3 Sangathis)

His kritis in Maruva (a rare raga) "Emamma" and Kalyani raga

"Kamtimati" there is no sangathis in the pallavi. His other kritis have two

or three simple sangathis. He has introduced less number of sangathis in

his kritis.

Madhyamakala sahitya

This is another technical beauty found in the kritis of Subbarama

';, Dikshithar. It is an inseparable part of the kriti composition. ;, Madhyamakala is sung at the end of the anupallavi or charana or both.

They add lustre and liveliness so as to give a brilliant and effective

ending to the whole piece. Subbarama Dikshithar introduced this beauty

in most of his kritis. Excellent examples are found in his compositions.

1. Tripurasumdari -Nattakkuranji

Kaladhari guruguhanutasa kalamodakari samkari

Kalapi kalapaka cabhara kalanidhi vadanasuradana

108

-Rupaka

Charana

,,

;,

,,

2. Kamtimati -Kalyani

Kamtarakamtara kamtasali vatipuri

Kamtakamtavani kamtavinutacarana

Murasurari sodarimoralakimncarada

Dharadharasutamadhuradharadharadharakaca

-Rupaka

Anupallavi

Charana

� 3. Sankaracaryam -Sankarabharana -Adi

Karakalitadamdaka mamdalam

Kasayadharamvinatamunimamdalam

Varamati vij itaharakumdalamsubha

Varadam natadharakhamdalam sri

Chittaswara

Charana

The groups of swara or solfa passages that have been composed and

figuring in the musical compositions may be generally referred to as

"Chittaswaras". The word 'Chittaswara' is not used in this great work Sangita

Sampradaya Pradarsini. The term 'Muktayi swara' is given in Pradarsini for the

swara passages in both ragamalikas and varnas. 'Chitta' is a Telugu word which

means (Kalpitamu) kalpita or something previously thought of and arranged.

This is a set of solfa passage in 2 or 4 avartas if in Adi tala, and 8 or 16 if in

Chapu, Triputa or Rupaka tala and is sung at the end of anupallavi and charana.

The kritis of Subbarama Dikshithar are decorated with brilliant

chittaswaras, like a bunch of flowers adorning a beautiful creeper. The

following are some of the kritis of Subbarama for which chittaswaras have been

introduced.

109

1. Sankaracaryam -Sankarabharan a

II L.!!.Q d n s,,, pm gr s, I,, d pm gr s . . . .

II s. n p d n s , , , p m g r s , , , d p m g r s , ,

-Adi

l,sn dpmgrll

sn dpmgrl

I s. r g m o , d n s r , g m g g I r s s , d o o , m g r s , m g r I I s d o m g m

This chitt aswara is an exampl e where in some avartas are in

vilambakala and some in madhyama kala.

2. Srivalli pate -Nagaswaravali -Chaturasra eka

IU!ls,dpmpm gl m,gmp,m,Jmd,

IU!lssddpmpdlsdpmgpmgJ

s,s,sgmglm,gmpmp,Jsgmpmd:pdJ

s s g g s s g g I m , m , m g I s s s g s s d, I

d s d d p , p d I s s ,s d s d p I p p m p m m , g I

pmg,mgs,lmgsdpm

In t his chitt aswara more prominence is given to janta swara prayogas.

3. Devi divyanama -Me chaba uli -Rup aka

11 � I , P g <l p <l p m 1 1

11 kQ I, g <l p <ls n d 1 1. . . .

11 g_J!_Q In pd n p <l pm 1 1

g,, m I gr s s n d pm II

• • • t

g_,_,_r I g p m g <l d p m 11 -

&..llill sndnddpp 11

11 m g, p d I s m g p d s n <l II g ,r s I n d p m g , p m I I

It is important to note that all the avartas begins on gandhara and thre e

sthayis of gandhara is also se en. It is n ote that mandra sthayi gandhara is rarely

seen in compositi ons.

I I 0

� k

Solkattu swara sahityam

This is a passage of solkattu with, a sprinkling of a few avartas of

swaras in the middle. In addition, there is sahitya for the whole passage.

The solkattu part with the interspersed swaras is first sung and this is

followed by the singing of the sahitya.

� For eg:- Tripurasumdari t

- Nattakkuranji -Rupakat

r \N.d ,n S r gmg I M . I p I \G / m \ R / g S

Taj jam

Ka tya

ta jam ta ka na ka

ya ni ka li ka lu

Jam

sa pa no di m pramo

rgm/p lg / mr/gs / r\Sl / grS Ir Sm /pg r s II

Tari ki t a ta ka ti mita ka jam

Di nisa ka la bhuvana ja na m va ra da y1 m ma da sa ma ni

n S s I/ n D n \ p d n s \ n s n/ r I, s n d /n \Pd I

Ta jam ta

Ka darn ba va m v1 ha ri ni

ta ri ta je

bhuja ga ve

ku ..

ni ma dhu ra va ni

n s r g I / m / p \ R s s N d I p d n / s I d p m / p g r S II

ta dd hi nu.

Sma ra ha ru m . . . ra m pu ra m

. ta ka di g1 ta ka ta dim gi na tom

na ta ja na na li na di na ma ni

It is believed that this is the only composition of Subbarama

Dikshithar with solkattu swara sahitya.

Apart from the above mentioned decorative angas, which pertain to

the dhatu of pieces, we have a few literary or rhetorical· beauties, which

add lustre and charm to the sahitya of the kritis. Very few Vaggeyakaras

have introduced such embellishments in their kritis as it needs literary

and poetic gifts of a high order, and a thorough knowledge of music, to

112

successfully create such technical beauties. Let us find out such beauties

in Subbarama Dikshithar's compositions.

r; �; Swarakshara �

Swarakshara is the decorative anga in which the swaras and the

aksharas or sahitya syllables are identical or almost identical.

Swaraksharas may be mainly of two kinds; the suddha (pure swarakshara)

and the suchita (suggestive swarakshara). In the first, the swara and the

sahitya are identical. In suchita swaraksharas, the swaras and sahitya

syllables are not exactly the same but are slightly different due to change

in the vowels or due to the use of like sounding consonants in the place of

consonant which would be identical with the swara.

Eg:- Kamtimati -Kalyani -Rupaka

g, fil.Q{ m} p'

kam ti - ma ti -Suddha swarakshara

Sarakanana -Sriranjani -Rupaka

-Suchita swarakshara

Although Subbarama Dikshithar has composed· several musical

forms, Kritis form the bulk of his compositions, totaling to '12' , next

, Ragamalikas ' 10' , Tana vamas '8' and so on. He has composed kritis on

various Gods, Goddess and Acharyas (Sankaracharya).His kritis in

Kalyani, Bhairavi, Sriranjani, Nattakkuranji, Sankarabharana,

Yadukulakambhoji can be considered as shining golden coins in the

repertoire of music world. His compositions in Maruva, Nagagandhari,

Nagaswaravali and Mechabauli have become rare and evershining pieces

in musical tradition.

113

Danavanikara vidaraka dasakuvalayasu

dhakaradhatrmada pahada nanidanamu

daspada vibudha lisenadhara dhrtanipadama

The fourth swara is set as sarva laghu. The range of this vama is

from mandra sthayi dhaivata to tara sthayi madhyama.

As it is blended with the special swara patterns which gives sweet

swara combinations, there by it enhances the splendour of this vama. It

is interesting to note that he had special favour in composing the

Yadukulakambhoji raga, Apart from this tanavama, two more

compositions, one a kriti begins with 'parthasarathy', other a daru begins

with 'sri karudani' has to the credit of Subbarama Dikshithar in

Yadukulakambhoji raga.

'srfmaharaja - Tanavarna (Atana, Ata tala)

This tana vama is a longer composition compared to other tana

vamas of Subbarama Dikshithar. It is composed in honour of

Venkateswara Ettemdra Pandiyan. The purvanga comprises of pallavi,

anupallavi and muktayi swara. The uttaranga comprises of charana and

'7' charana swaras. Anubandham is given at the end. of the charana

swaras as a separate section and this is also so long. All sections have

sahitya.

In the anupallavi, Subbarama Dikshithar included the Raja mudra

as "Sri Venkateswara Ettemdra sadguna samdra".

Of the seven charana swaras, the third swara is shadja swarantam.

Marnjula vacanarasa mrta saha sa jitasa

rasarpasarvabhauma sadhunivaha sadhva

sapaharasahasamkamanasaraga nusare sareku

116

"Kamimcina" in 32 ragas by Subbarama Dikshithar is a classical instance

of a ragamalika with sahitya for chittas\varas and viloma swara sahitya.

This raga malika is also in praise of Sri Parthasarathy.

Manatodi - Ragamalika (6 ragas, Adi)

The ragamalika • rvtanatodi' set in Adi tala is a Tamil composition.

This composition has the angas pallavi, anupallavi and charana. Pallavi

is in Todi raga, anupallavi in Sri raga and charana consists of Khamas,

Bhairavi, Yamuna, and Nattakkuranji. The Vaggeyakara mudra is

incorporated to the swara sahitya of the Anupallavi

Kolahala subhakaral1la surakulakala sugunasi1a guruguha .

Raga mudras are also seen in the particular sections.

The Raja mudra mentions in the Anupallavi as 'Kanakamazhai

pozhiyum Sri I\11uthuswami yettama'.

Nisarilerani - (9 ragas, Tisraeka)

The Navaratnamalika 'Nisarilerani' is set in the tala Tisraeka and it

1s composed in honour of Sri Rama Varma Tiruvadi, Maharaja of

Travancore. The ragamalika begins in Kalyani and goes through the

ragas Khamas, Begada, Maruva, B_alahamsa, Vasanta, Yamuna,

Manirangu and ends in Todi. This brilliant ragamalika of Subbarama

Dikshithar, is a classical instance of sahitya for chittaswara and viloma

swara sahitya. The vaggeyakara mudra appears in the swara sahitya of

B 4th section (Maruva raga). The Rajamudra is seen in the swara sahitya of r'.

9th section "Bala sri ramavarma kulasekhara maharaja Kiri!apatini

brochu".

121

Lord Sriramachandra. It is fomnd tl:nat chlttaswaras have sahitya in this

ragamalilka There is no mak"llta swam and viloma chittaswara. This

should be so.mg exaictBy Rike 1the Kred:air.a rngamallika "'"Endukurara"" set in

Rupalka Talla.

I Kaoakambari - (72 Ragaoga ragamalika.,, Adi tala) ··

'"I Ka.nak:aunrnb:aurm·. the 712 Raga.111ga iragamallika. the magnum opus

compositiollll of SubbarJ1J1na Dnkshniliar is set in Adi rala and illusttrat:ing

the 1'2 mellakartas according to the Asa.mpuma mda paddhati propounded

by Venka1tan1.1.khii Subb:aranua Dn.ksru1thar composed the Dhatu (music)

and Krishna Kavi,, the �latu (sahitya). It is important to note tha1t it is the

only ragamalika ,,ith chittaswara in each section. We can see

malrutaswara at the end of each ch:akra also.

Literacy and musical brilliance of the kriti forms are done in the