Saint Thyagaraja

                   S A I N T    T H Y A G A R A JA 

  Two  Hundred  and  Fifteeth   Birth Anniversary

                Celebration  in  ICC  Cupertino.

    [ Sixty  Sixth  Meeting  of  the  Colloquium ]

                           28^th  July  2017

 A  brief Profile  of  his  Life  and  Achievements

                  By   Dr.  Krishna  M. Gutala    

                     

In all concerts of Classical Carnatic music, anywhere, at any time, and at any level, there would be sung, or played, at least a few, if not more, of the compositions of Saint Thyagaraja. Fondly called in Telugu as ‘Thyagayya’, his full name is Kaakarla Thyaga Brahmam. He was a prolific composer, and instrumental in the development of Carnatic classical music tradition. He composed in the Telugu language, thousands of devotional ‘keertans’ (songs), all invoking his chosen Deity Lord Sri Rama. All his compositions are extremely popular even today.

Thyagaraja was born on 04^th May 1767 in Tiruvarur, Tanjavur district, Tamil Nadu, to Kaakarla Ramabrahmam  and  Seethamma, a Telugu Brahmin couple. The family belonged to the Smaartha tradition, of Bharadvajasa Gothra, and Mulakanaadu sect. The couple were blessed with three sons:  Panchanaada Brahmam (eldest, also called Japyesa), Panchapakesa Brahmam, and the youngest being Thyaga Brahmam or Thyagaraja, named after the Presiding Deity of the Temple at Tiruvarur. Panchapakesa died early, due to chronic ill-health. Thyagaraja’s paternal grandfather was Giriraja Kavi, a poet and musician, born in Kaakarla village of Andhra Pradesh. Thyagaraja’s maternal grandfather was Kaala Hastayya, a Veena player, from whom Thyagaraja, in childhood, learned playing Veena.

When Thyagaraja was still young, the family moved to Thiruvaiyyaru, wherein the King of Tanjavur gifted the family with six acres of land, and a house to live in.  Thyagaraja lived there all his life.

Thyagaraja’s  mother had a collection of Sri.Purandara Dasa’s  keertans, which she taught to him at quite an young age. In 1787, when Thyagaraja was of 20 years, his father passed away. In 1804, when he was of 37 years, the mother expired.

Tiruvarur, in the Tanjavur district of South India, was a small hamlet. It was small in size, but has a great sanctity, hallowed by the memory of the Trinity, the three famous Composers: Thyagaraja, Shyama Sastry, and Muthuswamy Dikshitar, the compositions of all three of them being popular even now.

Thyagaraja, when he was of sixteen years, began his musical training under Sri. Sonti Venkata Ramanayya, a music scholar and Court Musician. Young Thyagaraja believed music as a way to experience God’s love. His objective while practicing music, was purely devotional, as opposed to focusing on the technicalities of classical music. He also had a flair for composing music on his own, and, in his teens, composed his first song “ Namo Namo Raghavayya”, in Raga Desika Todi.

Thyagaraja married in 1784, at the age of about eighteen, a girl called Parvati. She died in 1789, without leaving any children. He then married her sister Kamalaamba. A daughter, Seetalakshmi, was born to them. At appropriate age, she was given in marriage to Kuppuswamy. They begot a boy who was named Thyagaraja. Unfortunately, he died issueless, bringing to an end the direct lineage of Saint Thyagaraja.

Coming back to Thyagaraja’s  life, his preceptor Sonti Venkataramaniah informed the King of Thanjavur, of Thyagaraja’s genius. The King sent an invitation, along with many rich gifts, inviting Thyagaraja to come to the Royal Court. Thyagaraja however, was not inclined towards a career at the Court, and rejected the invitation, as also all the gifts, outright. On the occasion he composed “Nidhhi Chaalaa Sukhama?  Ramuni Sannidhi Seva Sukhamaa?” [ meaning: Does wealth bring happiness, or, service to Rama in proximity? ].  Being born and bred in a highly cultured family, he was a profound scholar and poet. He studied Sanskrit and Astrology also.

Thyagaraja, who was totally immersed in his devotion to Rama, and led the most spartan way of life, without bothering in the least for the mundane comforts of the world, did not take any steps to systematically codify his vast musical output. Ranga Ramanuja Iyengar, a leading researcher on Carnatic music, in his work “Kriti Mani Malai”, described the situation at the time of demise of Thyagaraja. It is believed that a major portion of his incomparable musical output was lost to the world, due to natural and man-made calamities. Usually Thyagaraja, it is believed, used to sing his compositions sitting before his Deity of Sri Rama, or walking in the streets of Tiruvaiyyaru, and his disciples noted down the details of his Keertans, on palm leaves. After his death, these were handed down thru generations, in Guru-Sishya parampara (sequence). There was no definitive edition of his songs. Subsequently, indefatigable researchers like K.V. Srinivasa Iyengar and Ranga Ramanuja Iyengar, made enormous efforts to contact various teachers and families who possessed those palm-leaves. Srinivasa Iyengar published “Aadi Sangita Ratnavali” and “Adi Thyagaraja Hridayam” in three volumes.

Out of the 24,000 songs said to have been composed by him, about 700 songs remain now. However, scholars are rather skeptical about that big number 24,000, since there is no biographical evidence for that. In addition to the ‘Krithi-s’, Thyagaraja composed two musical plays in Telugu, the “Prahlaada Bhaktha Vijayam” and the “Nauka Charitham”. Prahlaada Bhaktha Vijayam is in 5 acts with 45 Krithi-s and 138 verses. Nauka Charitham is a shorter play in one act, with 21 Krithi-s and 43 verses. He also composed a number of simple devotional pieces, appropriate for choral singing, such as “Utsava Saampradaaya Keerthan-s” and “Divya Naama Sankeerthan-s”. One can speak of Thyagaraja’s music, only in superlatives; even these are pitifully inadequate to convey the exquisite beauty of his art. His music was creative, and saw the potentiality in new melodies that gave form to raga-s like Kharahara Priya, Hari Kaambhoji, and Deva Gandhaari. The rhythms he used are also simple, and generally confined to tala-s such as Aadi, Triputa and Roopak.  His genius is evident in every song of his, but his immortal Pancha Ratna krithi-s, reveal his mastery over musical technique.

Pancha Ratna Krithi-s :  ‘Pancha Ratna’ in Sanskrit means ‘five gems’. These have become known as the five finest gems of Carnatic music. All of them are set to Aadi Taalam. Many musicians have brought out editions of these five Krithi-s. However, Veenai Sundaram Iyer’s edition is the most comprehensive. All compositions of Thyagaraja reveal the systematic development of the raga, but, in the Pancha Ratna Krithi-s, he gave the full exhaustive treatment as to how to systematically  develop a raga.

First Pancha Ratna Krithi  is “Jagadaananda Kaaraka” (The Causer for happiness in the world) in the raga ‘Nata’. Composed in lucid and poetic Sanskrit, praising his Lord Rama. In the six stanzas of the song, there were 90 names of Rama. The disciples after hearing it, desired two more stanzas having 18 more names, bringing total to 108. The Saint accepted it. Hence this krithi has two ‘mudra-s’ i.e., name of Thyagaraja appearing at the end of song. A specialty of this song.

Second one is “Dhuduku Gala” (Rash and inconsiderate behavior) in raga ‘Gowla’. In this, Thyagaraja takes upon himself the blame for all misdeeds, and laments who would come and save him from this plight.

Third one is “Saadhhinchene” (Achieved at last) in raga Aarabhi. In this song, Thyagaraja lovingly criticizes Lord Krishna for his cleverness in getting what he wants.

Fourth one “Kana Kana Ruchiraa” (Seeing again and again is tastefully satisfying) in raga ‘Varaali’. In this krithi, he describes the infinite beauty of the Lord Sri Rama.

Fifth and last is “Endaro Mahaanubhaavulu” (So many Celebrities), in raga ‘Sri’. It is believed that a great musician from Kerala, Govinda Maraar came and performed. Thyagaraja was enchanted, and the result was this song of unparalleled rhythmic beauty in Carnatic music.

Other famous compositions by Thyagaraja include: ‘Saamaja Vara Gamanaa’ in raga ‘Hindolam’, ‘Aadamodi Galadhe’ in Charukesi, ‘Raaju Vedale’ in raga ‘Hanumath Thodi’,  as also, ‘Ninnay Nammi Naanuraa’ in ‘Thodi’ and the highly popular song ‘Nagu Momu Kana Leni’ in Abheri.

Spiritually, he was one of the rare souls who gave up everything except ‘bhakti’ (devotion), and cared for nothing else beyond the grace of God. The early influences on his life make this trend more pronounced. The ‘Bhagavatha’ of Bammera Potana, the mystic poet of Andhra, was for him a book of daily parayana (recitation). Indeed, there is close parallel between the thoughts and lives of these two. It has already been mentioned that the compositions of Purandara Dasa were fed to him by his mother, at a young age. Such early environments led to a positive direction by initiation into ‘bhakthi’. It is supposed that he was given the Rama Taraka Mantra by one sanyasi, Sri Ramkrishnaananda. So also, the works and personality of Sri Narayana Teertha, the author of ‘Krishna Leela Tarangini’, had considerable effect on him.

Thyagaraja is said to have recited ‘Rama Naama’  960 million times by 1808, by repeating ‘Rama Shadaakshari’ Mantra for 21 years. This is said to have endowed him with even some miraculous powers. Well, whatever it be, the word Rama cast a spell, and transcended all names. He sings “As what did they define You? How did they worship you?--- as Siva, as Madhava, as Brahma (born of Lotus, w.r.t. Padma Naabha), or the very Para Brahma?  I prostate myself before those who know the secret of  ‘RA’ as the life of Narayana Mantra, and  ‘MA’ as the life of Siva Mantra!

This complete surrender as a devotee, naturally made him live a life of detachment, though he was a householder. The immediate result was that he refused to earn a livelihood. He had a house to live in (thanks to his father), and that was enough for shelter. For food, or for its basic materials, he would go round the village asking for alms ( called ‘Uncha-Vritti). Also, he would not gather alms more than needed for the day! This uncompromising life of his, was not at all to the liking of his elder brother, who fondly hoped that the great art and learning of his younger brother, could be of material benefit and prosperity. He was much frustrated when Thyagaraja flatly rejected the royal offer to be a Court-Musician, and even the gifts that were sent. In desperation, the elder brother, not only partitioned the ancestral home, but even went to the extent of throwing the Ram-Parivaar idol into the nearby river Cauveri secretly, when there were none in that portion of the house. The intense sorrow of Thyagaraja can be imagined. He left the house in search of the Idol, alone, not agreeing to his wife following him. Many a song he sang begging his Lord to come back.

Utterly broke down, Thyagaraja undertook an extensive pilgrimage to sacred places in South India. Wherever he went, he sang the Deity of the place. There was a famous incident on his visit to the Venkateswara Temple at Tirupati.  When he desired the ‘darshan’ of (to see) the Lord, there was a curtain concealing the Lord. The priest refused to part the curtain. Pitifully, he appealed to the Lord through his song “ Will you not remove the curtain?”, and characteristically adds “ of the vanity and jealousy in my mind..”. And Lo! The curtain slides aside gently, on its own!   A miracle indeed of intense devotion.

Another touching event was when he was attending a folk-dance drama depicting an incident in Mathura when a ‘gopika’ (devotee), a vendor of buttermilk, beseeches Lord Krishna to give her way, through a song  “Mathura Nagarilo Challa Lamma Boanu..” in raga Ananda Bhairavi. It was well rendered. After the stage-show, the folk-dancers request Thyagaraja to avoid using that raga in his songs, to which the compassionate Thyagaraja agrees!

At the end of his pilgrimage, when he could not find his Ram-Parivaar Idol, it is said, out of sheer frustration, he chose to end his life, and walks straight into the Cauveri river. Afer a while, the Idol is discovered. With overwhelming joy, he returns home, re-installs the idol in its former place, and gets back to his normal routine. When he visits his brother, he learns that his arm became paralyzed, when he threw the Idol into the river. The symbol of compassion that Thyagaraja was, and true to the dictum ‘To forgive is Divine’, he prays to his Lord, and his brother’s hand returns to normal. Another mystery indeed. However, his brother (Japyesa) died in 1812. His descendants continued ever since, to live at that place, and may be there even now.

In his last stage of life, a tragedy occurred.  Kamalaamba his wife, who lived alone in grief, when Thyagaraja went out in frustration, on his long jouney in search of his Lord’s Idol, began losing health, and became very sick. She died in his hands in 1845, but after, as per her last wish, Thyagaraja went thru a religious ritual of giving some gifts to married women in their neighborhood. Thus he was left alone in the withering stage of his life, to fully immerse himself in thoughts of his Lord Rama.

Last days: Thyagaraja took ‘Sanyasa’ (renunciation) towards the end of his life, just a day before he expired, and fully absorbed in the thoughts of his Lord. There is a poignancy about his absorption into the Godhead. In one of his most moving songs, he relates: “Unerringly I saw Sri Rama installed on the hill. Thrilled with ecstacy and overwhelming joy, and eyes filled with tears, I tried to speak. He promised to bless me in five days.”  So it happened. He attained Samadhi (Salvation) on ‘Pushya Bahula Panchami’ in Prabhava year, i.e., 6^th January 1847.

In Memoriam:  “ Thyagaraja  Aaraadhhana “, the Music Festival in remembrance of Sri. Thyagaraja, is held every year, in the month of January, at Thiruvaiyyaru (in Tamilnadu), in the Temple there, built by his ardent devotee Smt. Bangalore Nagaratnam of Mysore. This congregation, in honor of Sri. Thyagaraja, began in 1941. Carnatic musicians, from all over the world, converge at his this resting place. On the Pushya Bahula Panchami day (the day of his demise), the congregation of musicians, many of them highly celebrated, sing the five Pancha Ratna Keertana-s  in unison, with accompaniment of a large number of accompanists on veenas, violins, flutes, naadaswarams, and rhythmic instruments: mridangams, ghatams, kanjeeras and morsings. It is deemed as an honor to any Carnatic classical musician, if given an opportunity to participate on that occasion.

Apart from the above Aaraadhhana Festival, in Thyagaraja’s remembrance, there are two more memoriams. A  Sports Complex in New Delhi, called  ‘Thyagaraja Sports Complex’, was named after him. Another international recognition is, a Crater on the planet Mercury  has been named ‘Thyagaraja’.

Apart from the above remembrances, Sri. Thyagaraja’s  memory will be ever dwelling, and shining bright, in the hearts of millions of music-lovers of Carnatic Classical Music, the brightly burning torch being ever held high by the Carnatic classical singers, all over the world.

Films  on  Thyagaraja : Till now, two films were made, both in Telugu. In 1946, Chittoor Nagaiah produced ‘Thyaagayya’ with himself in lead role. In 1981, Bapu-Ramana produced ‘Thyaagayya’ with J.V. Somayajulu in lead role. Both were great hits. None came subsequently.

                 ( Source of this write-up:  Mostly from Google )

                  

x