If ever there was a perfect use of the term ‘First among equals’, Thyagaraja, amongst the Trinity, would be it. His body of work is the largest (about 700, of an estimated 24,000, have reached us) and encompasses pieces in several ragas (over 200 is mentioned), various talams, gaits and, often, many emotions within the same song. He is credited with popularizing the ragas Kharaharapriya and Harikambhoji with the number of kritis he composed in them. He also created several new ragas. Thyagaraja kritis often lend themselves to several sangathis and offer excellent scope for neraval. Entire concerts can be performed with only his works. In fact, for the last several years, senior vocalist O.S. Thiagarajan has almost exclusively presented only Thyagaraja songs in his concerts.
That Thyagaraja was a compositional genius is agreed upon by every practitioner and researcher. His songs, renowned vocalist Abhishek Raghuram says, teach one Carnatic music itself. “They were organic outpourings from the heart. It is thus a challenge to sing them the way Thyagaraja might have intended”. Abhishek, a grandson of Palghat Raghu and a trained percussionist himself, adds that Thyagaraja’s songs have laya embedded as part and parcel of the pieces 46 | 5 Years of Rasikapriya and one need look no further than the Gana Raga Pancharathnams to understand this aspect.
Abhishek remarks that Thyagaraja songs enhance any concert and that this has been mentioned by many stalwarts. He recounts an anecdote where Lalgudi Jayaraman once returned from a concert and realized that he had not played any Thyagaraja kriti. He promptly sat down in his puja room, played a Thyagaraja composition. Only then did Jayaraman feel fulfilled.
Besides details of Thyagaraja’s trials, tribulations and observations from daily life, RK Shriramkumar, violinist, teacher and authority on all things Carnatic, explains that the composer delivered many lessons and entreaties in his kritis such as:
Importance of the Guru in one’s life – Guruleka (Gaurimanohari), Ni cittamu (Dhanyasi).
Condemning nara stuti (the extolling of humans) – Nidhi chala sukhama in Kalyani is a classic example.
Total surrender of body and soul to the Divine – Ennaga manasu in Neelambari.
Importance of satsanga (keeping good company) and the shunning of hypocrisy – Teliyaleru rama (Dhenuka), Manasu nilpa (Abhogi ).
Importance of Nama Smarana (recitation of the Lord’s name) – Smarane sukhamu (Janaranjani).
Lakshanas (qualities) of a true devotee – Bhaktuni charitramu (Begada).
Importance of control of mind – Manasu svadhina (Shankarabharanam).
Importance of not condemning other faiths – Bhajanaseyave (Kalyani), Vinatasuta (jayantasena), Ninne nera (Pantuvarali).
Importance of Bhakti – Emi jesite (thodi).
Importance of not avoiding Karma–Ni Bhakti and Yagnadulu (both in Jayamanohari).
His observations/lessons on life and devotion aside, Abhishek says that Thyagaraja’s musicianship was par excellence. He refers to Thyagaraja’s corpus of compositions in Thodi as so complete that there is nothing left to further illustrate in that ragam. To have composed in the appropriate raga, tala, melody and gait for each piece is an illustration of how rhythm, melody and lyric are inextricably intertwined in his compositions. This was only possible because Thyagaraja did not compose his songs as a task he set out to do with the intellect. It came to him through divine grace, says Abhishek. Music is said to express/touch emotions that we might not be able to articulate with words and, since Thyagaraja’s kritis are essentially conversations with God, they touch on the gamut of every possible emotion making anyone relate to them, Abhishek Raghuram adds.
Tyagaraja Aradhana:
Thyagaraja passed away on January 6th, 1847 – Pushya Bahula Panchami day. Thus, January sees many ‘Thyagaraja Aradhana’ events throughout the city, practically becoming an extension of the season.
It was Harikeshanallur Muthiah Bhagavathar who selected the five Gana Raga Pancharathnams for group singing, when the Thyagaraja Aradhana, in its present form, began in Thiruvaiyaru in 1941. Sumithra Vasudev, musician, scholar and senior student of Sangeetha Kalanidhi R. Vedavalli, says, “The idea of singing pancharathnams is first said to have come about to have some songs that musicians participating in the aradhana could sing together. It was decided that since these songs were in the swara sahitya format, there would be less of stylistic differences that have to be adjusted.”
According to Dr Radha Bhaskar, Thyagaraja’s works are full of spirituality but, at the same time, highly scientific and replete with melodic and artistic beauty. “His compositions have had a very strong influence upon the musical scenario of South India in the 18th and 19th century as it revolutionized the very nature of Carnatic music. It has opened up new avenues in terms of raga portrayal as well as in making music reach a wider spectrum. The compositions of Thyagaraja, ranging from the simple to complex, have thrown open endless varieties in raga delineation. It has also been instrumental in paving the way for the music which has come after that and to make Carnatic music what it is today.”
As V. Sriram, historian, author and Secretary of The Madras Music Academy stated so eloquently, it is very likely that at any point in time, someone, somewhere in the world, is singing a Thyagaraja kriti. There can be no greater testament to Thyagaraja’s exalted stature in the Carnatic firmament.