MUSIC
Profiles of Artistes, Composers, Musicologists
Unless otherwise specified, the profiles in this section are
from
The Garland, Another Garland, Yet Another Garland and The
Fragrant Garland by Mr.N.Rajagopalan
RAO SAHIB M. ABRAHAM PANDITHAR -
MUSICOLOGIST...............(August 2, 1859-August
31, 1919)
Born
of Muthuswami Nadar and Annammal at Sabavar
Vadagarai near Tenkasi, Abraham Pandithar studied at
the Normal Teachers' Trainng School, Dindigul and
became a teacher at the same school.
Abraham learnt music under Dindigul
Sadayandi Patthar and a nagaswram artiste at
Tanjore and blossomed into a knowledgeable
musicologist and a princely patron. No other
commoner had done so much in those distant days
for music as Abraham Pandithar. Even
subsequently, if one could be cited for great
service of such magnitude in the cause of music,
it was Annamalai Chettiar, Founder of the
Annamalai University. Pandithar was a
composer, research scholar and organiser. He
had done considerable research into the
intricacies of Carnatic music in the context of
ancient Dravidian (tamil) literature on art and
music. Perhaps few had excelled him in this.
His prodigious work 'Karnamrita Sagaram'
is really an ocean, as its name bears, of
information on musical history, science,
literature, musicians, etc. An encyclopaedia
and a thesaurus, it is in two volumes and it is
really a wonder that in those days of few
facilities, he was able to compile and publish
such a massive work. The monumental work is
an addition to another 'Karnamarita Sagara
Thirattu' (1907) containing ninty-five songs
(gitam, swarajati, varnam) with swaras etc. on the
pattern of Purandaradasa.
He was the centre of activity for
musicians and musicologists. What the
Tanjore rulers did earlier, he did and perhaps had
excelled in certain aspects. He kept up
contacts with all musical luminaries in the whole
of India. He was the first to convene
All-India Conferences on Music at Tanjore on a
scale not witnessed before in the South and rarely
witnessed eversince. The Conferences were
held on May 2, 1912 and on August 19, 20 and 21
1916. The Assemblies were impressive.
The Agenda was a focus of real issues and
problems. There was solid work and
purposeful discussions among patrons,
musicologists, musicians, etc. The list of
participants is a remarkable catalogue of
everyone who counted.
He started the 'Sangeeta Vidya
Mahajana Sangham' at Tanjore on December 14,
1912 with stalwarts like Konerirajapuram
Vaidyanatha Ayyar, Harikesanallur Muthiah
Bhagavathar, Panchapakesa Bhagavathar, etc.
In 1913, Muthiah Bhagavathar promised to donate
one performance per annum for the continued upkeep
of its activities.
For his excellent and remarkable
contribution, Abraham Pandithar deserves the
gratitude of everyone. Richly he deserves
posthumous recognition.
PACCHIMIRIAM ADIPPAYYA - RENOWNED
COMPOSER...............(18th Century)
'Even though there are other varnams,
there can never be another tana varna to equal the
brilliance of 'Viriboni' even in the
future, says Subbarama Dikshitar in 'Sangita
Sampradaya Pradarsini'. Percussion
wizard Dakshinamurthi Pillai would feel out of
sorts if 'Viriboni' was not in the
concert initially for the reason that the breezy
tempo it generates and the vitality it lends were
lost to the percussionist. Pacchimiriam Adippayya
is the celebrated author of the Bairavi
raga varnam 'Viriboni'. He has
composed varnas for beginners and songs in rakti
and desi ragas, besides gitas ad prabandhas.
He is credited with systematising concert patterns
and methods with raga alapana, madhyamakala and
pallavi.
There is an interesting account in the
life of Syama Sastri of the Trinity. Sangita
Swami Yati Sreshta, who initiated him into the
intricacies of raga and tala, advised Syama Sastri
'to listen to but not follow Adippayya'.
Adippayya was, however, delighted to receive Syama
as a disciple since he saw visions of Devi
Kamakshi's blessings in taking him. Syama
Sastri's family were doing poojahs to the deity of
Kamakshi Amman at Tanjore as hereditary
archakas. Pallavi Gopalayyar, Sanjeevayyar
and Ghanam Krishnayyar were among his eminent
disciples, apart from Syama; and all of them have
left an indelible mark. Subbukutti Ayya, an
eminent veena artiste (circ.1813-1846) was a
grandson of Adippayya and he graced the Courts of
the rulers of Pudukottai and ravancore (Swati
Tirunal). Dr. U.Ve. Swaminatha Ayyar makes
mention of one Tiruvaiyaru Pachimiriyalu Sesha
Ayyar as a good vocalist and composer of gita
prabandhas. Whether he is connected to
Adippayya is not known. Vina Krishna Ayyar,
his son, has authored the work 'Sapta
Taleswaram'. Few families have such
distinction in successive generations.
Adippayya is reported to have followed
Veerabhadrayya's style.
Adippayya was Asthana Vidwan under
Rajahs Pratap Simha and Tulajaji of Tanjore
(1741-1787).
It is unfortunate that fuller account of
the lives of several stalwarts are not
available. They chose to leave little
account of themselves in conformity with the Hindu
belief to shed egoism and promote anonymity, which
find beautiful reflection in Owen Meredith:
'That man is great, and he alone,
Who serves a greatness not his own,
For neither praise nor pelf;
Content to know and be unknown;
Whole in himself.'
Adippayya
is called 'Tana Varna Margadarsi' (trail blazer) and
Architect of Swarajati as a dance music form.
KANDADEVI S. ALAGIRISWAMY -
VIOLINIST:...............(b. 21 April 1925)
Son
of Sundararaja Ayyangar and Alamelu Ammal, S.
Alagiriswamy was born at Kandadevi near Devakottai
and had studied upto fourth form. He had his
initial training from 1936 under his grandfather,
Srinivasa Ayyangar and Kandadevi Chellam
Ayyangar. In 1940, he switched over to
T.Chowdiah for advanced training in violin
Made his debut by accompanying in the
solo concert at Mysore of T.Chowdiah and
immediately on April 10, 1942 accompanied
Ariyakudi Ramanuja Ayyangar at Devakottai.
Religious and modest, he has been a popular
vidwan.
Honours:
'Thandi nada Visharadha' - Sri
Sankaracharya of Kanchi Kamakoti Peetam.
'Kalaimamani' - Tamilnadu Eyal Isai
Nataka Mandram, Chennai.
AMBHUJAM KRISHNA -
LYRICIST.....................................(d.October
20, 1989)
Ambhujam Krishna, a Home Science
Graduate of Delhi University came into the
renowned TVS family of Mdurai-Madras on her
marraige with the dintinguished industrialist
T.S.Krishna. Daughter of Madurai Ranga
Ayyangar, she had her training in music under
Karaikudi Ganesan and Mudurai Ganesa
Bhagavathar. A staunch devotee of God and an
ardent lover of arts, she took to composing in
Sanskrit, Telugu, Tamil, Hindi and Manipravalam
(macaronic). The compositions are noted for
fragrance of imagination, chaste language, clarity
of thought and spontaneity. Her lyrics are
brought out in four volumes of 'Geethamala'.
Her colossal output was not the result of planned
exercise but were outpourings of a genius blessed
with a mind that was sharp and an imagination that
liaised with the best and the noble.
As she was not a musician, she availed
of the services of a host of musical and dance
stalwarts to set her six hundred songs to tune
like:
| Aadinaaye Kanna - T.N. Seshagopalan |
| Nee Poi Azhaithu Vaadi - V.V. Sadagopan |
| Kudihittodi Vaaraai Guhane - V.V. Sadagopan |
| Rajunaite Brothuvemo - Dr.S. Ramanathan |
| Krishna Leela Maduryam - Madurai N. Krishnan |
| Radha Madhavam - K.R.Kedaranathan |
| Aadum Paadanai - K.R.Kedaranathan |
| Invocation song addressed to
Mukkuruni Pillair Madurai - Dr.Semmangudi Srinivasaier |
| En Azhaganai Azhaithu Vaarai
Sakhi - Anantalakshmi Sadagopan |
Her songs are adopted for music and
dance concerts. The composer had
thoughtfully utilised different musicians of
repute to ensure that sahitya - bhava carries
sangita - bhava.
MANGALORE K. ANANTHRAM - SAXOPHONE
ARTISTE...............(b. January 1, 1946)
Ananthram was born in Kokada near
Mangalore of Dharanappa. He had his initial
training in music from his father. He had his
professional training under Kanchana Venkata
Subramanya Ayyar, Nagaswaram Munivenkatappa and
Nagaswaram Karkala Narayanaswami. His debut
performance was at Malleswaram Sagita Sabha in
1993. He has been performing in Sri Venkataramana
temple for two decades and giving concerts on All
India Radio, sabhas, etc. in Karnataka, Mumbai and
Chennai.
Titles:
Saxophone Samrat by H.H.Sri Keshavananda
Swamiji of Ednir Mutt in 1994.
Saxophone Sarvabhouma by Sri
Lakshminarayana Asrama of Sri Durga Parameswari
Temple in 1994.
PARUR S. ANANTARAMAN(Sr.) -
VIOLINIST...............(b.26 August 1924)
Son of Parur Sundaram Ayyar and brother
of M.S.Gopalakrishnan, S.Anantharaman is a
competent violinist - a chip of the family legacy.
Naturally, he had his training under his father
and at the early age of seven, made his debut at
the Tyagaraja Vidwath Samajam. He is a graduate in
Mathematics and diploma holder in music - both of
the Madras University.
Anantharaman has been accompanying all
leading vidwans and promising musicians with his
skilled, adjusting and learned violin-play.
Probably no Sabha worth the name is left out where
he has not performed and his dignified, virtuous
play is relished by all. He was lecturer and then
Professor in the Central College of Carnatic
Music, Madras from 1962 till he retired in 1983.
All India Radio availed of his service for over
forty years.
Honours:
Kalaimamani by Tamil Nadu Eyal Isai
Nataka Mandram
Asthana Vidwan, Sri Venkateswara Temple,
Pittsburgh, USA
ANNAMACHARYA TALLAPAKA - ARCHITECT OF
DEVOTIONAL ECSTASY:...............(1408 - 1503)
Annamacharya was born of Narayana Suri
alias Kumaranarayana and Lakshmamba of Tallapaka
in Cuddapah district, Andhra Pradesh. At the
age of eight, Annamacharya had to leave Tallapaka
for Tirumala on a command from Lord Venkataramana
in dream. The child prodigy had the vision
of Alamelumanga (the damsel standing on a flower),
the divine consort of Lord Srinivasa. Young
Annama poured forth inspired songs numbering a
hundred immediatedly at the same place,
Mokallamudupu. As he ascended the seven
hills, he was scaling spiritual heights too and he
reached the Abode of Bliss, which to this day is
an unparalleled inspiration to all categories of
the public. Like the sages and the musical
trinity, he was initiated into Vaishnava fold by
Ghana Vishnu with Panchasamskaram rituals.
Annamacharya remained at Tirumala till he attained
the age of sixteen, an age immortalised by
Markandeya of Tirukadayur. He had the
manifestation of Lord Venkataramana and the commad
of the Lord to compose not less than a song a
day. his he carried out to the last.
Divine will took him back to Talapaka and he
married Thimmakka and Akkalamma.
Annamacharya toured the whole of SOuth
India worshipping and singing in praise of famous
Vaishnavite shrines. Adivan Sathakopa Yathi
of Ahobilam enlightened his life and
mission. Inspired by the teaching of the
guru, he sang the essence of Vasishtadwaita
philosophy for the benefit of mankind.
Saluva Narasingaraya, who ruled from Penukonda
invited Annamacharya to his Court. But it
was to last long. Delighted at the charm of
the Poet's compositions, the Saluva expressed a
desire for composing a song in praise of
himself. 'Narastuti', (praise of man)
was not within Annamacharya's comprehension.
Quite in keeping with Prahalada's code
Annamacharya told the chieftain that his
compositions were of and for the Lord alone.
Stung by the honest reply of the poet, the Saluva
imprisoned Annamacharya. On release,
Annamacharya left for his spiritual home,
Tirumala.
Annamacharya, his son Pedda
Tirumalacharya and his grandson Chinna Tirumala
are together called as 'Tallapakam'
composers. They were the first to compose
songs in Telugu with Pallavi and Charanam which
later composers adopted adding Anupallavi. A
colossal output of thirty two thousand songs were
sung by Annamacharya. Twenty thousand are
not traceable. The copper plates onwhich
they were inscribed are now with Sri Venkateswara
Oriental Research Institute, Tirupati. The
prolific composer had authored several works and
the following are now available:
1. Sringara Manjari:
Poems of madura bhakti - Devotion and
longing of the maiden for the Lord and her final
union as in the case of Andal of Tirupavai songs
symbolising the merger of the soul - jeevathma -
with the ultimate - Paramathma.
2. Sringara Sankirtana:
Anthology of Nayaka - Nayika poems
symbolising the Lord and the Poet in sringara.
3. Adhyatma Sankeertana:
Philosophical work expatiating on
adoration.
The original Adhyatma Sankeertana
in Sanskrit was transalated into Telugu by Chinna
Tirumala and published by the Tirumala Tirupati
Devasthanam. The works are all addressed to
the patron deity, Lord Venkateswara
(Venkataramana). About ninety ragas had been
used for the twelve thousand songs including rakti
ragas like Ahiri and Bouli which
predominate. Annamacharya also wrote the
Sanskrit treatise on desi song forms titled 'Sankirtana
Lakshana'. His songs cover temple
rituals, utsavams and certain aspects of life and
after. Annmacharya has also authored other
works like:
Ramayana in Dwipada kavya
Venkatachala Mahatyam in Sanskrit
Satakas - eleven and
Prabandas in different languages.
Visishtadwaitam and Lord Venkateswara
were the prime themes of Annmacharya as Rama was
to Tyagaraja, Guha and Devi to Muthuswami
Dikshitar, Krishna to Jayadeva. The language
is simple, direct, colloquial within the reach of
the lay devotee. He made liberal use of folk
forms to popularise the message; and it was the
message of God, Dharma and Humanism. He
called his songs Sankirtanas and thus came to be
called 'Sankirtanacharya'. The
preceptor is also called as 'Pada Kavita
Pitamaha', i.e., the progenitor of padam
lyrics. The devotee, poet, composer and
saint is revered. The Devasthanam is taking
steps to popularise his songs which are the first
of their kind combining bakthi, music and sweet
Telugu ( sundara Telugu, as Mahakavi Subramanya
Bharati extolled its sweet charm).
The Devasthanam has published 'Sri
Balaji Pancharatnamala' and 'Sri
Venkatesa Gita Malika' and is celebrating
his jayanti annually.
Thimmakka:
First wife of the poet Annamacharya, she had authored
'Subhadra Kalyanam' in Manjari Dwipada style and
was a Telugu poet.
Pedda Tirumalacharya:
Eldest son of Annmacharya followed the
path shown and outlined by his illutrious
father. He composed Sringara and Adhyatma
Sankirtanams, besides authoring -
1.
Venkateswara Vachanamulu
2. Chakravala Manjari
3. Venkateswarodhaharanamu
4. Sudharsanaragada
5. Dwipadaharivamsamu
6. Venkateswara
Prabhathasthavamu
7. Sringara Dhandakamu
8. Sringaravrutha
Sathakamu
9. Neethiseesa
Sathakamu
10. Repharakaranimayamu
11. Sankeerthana
Lakshanavyakhya
12. Andhra Bhagavadgita -
he transalted
Bhagavadgita into Telugu in colloquial
style
Chinna Tirumalacharya:
Son of Pedda Tirumalacharya, he is
regarded as the 'Maha Purusha' (Originator)
of Bhajana Paddhati. His Todayamangalam
songs are sung at the beginning of bhjans and are
the most well-known bhajan songs. Tyagaraja
was using the same till he switched over to his 'Divyanama
and Utsava Sampradaya kirtanas'. His
other works are Ashtabhasha Dhandakamu and
Sankirtana Lakshanamu. Some of the
Todayamangalam songs are brought to a cassette by
Swami Haridas Giri with rapturous effect.
Tallapaka Chinnanna:
Fourth son of Pedda Tirumaliah, he was
the biographer of his grandfather. He wrote 'Annmacharya
Charitamu' in Dwipada style, besides
Paramayogi Vilasamu, Ushaparinayamu.
Tallapaka Tiruvengalappa: Revanuri
Venkatarya:
Son of Chinna Tirumalacharya,
Tiruvengalappa was an author like Revanuri
Venkatarya, son of Annamacharya's daughter.
Talapaka Family was the torch-bearer of
Sri Venkateswara's philosophy, totally dedicated
to extol the pristine glories of the Lord of
Tirumala - Tirupathi and the most popular and
worshipped Deity.
ANNAMALAI REDDIAR -
COMPOSER...............(1865 - 1890 or 1891)
'Kavadi Chindu' is one of the forms of
light compositions in Tamil which are highly
popular for their simplicity, emotional content
and appeal. In praise of Lord Muruga of
Kazhugumalai in Tirunelvelli, Annamalai Reddiar
had composed kavadi chindus. Rich in poetic
excellence and charming melody, his songs include
pieces like 'Murugan Tirumal Marugan Perumai' (Atana).
Has composed Thalapuranam, etc.
Annamalai Reddiar was born at
Chennimalai in Tirunelvelli District. A charming
person, he is stated to have led a reckless life
and died in his twenty-sixth year. The Lord of
Kazhugumalai has been praised by Muthuswami
Dikshitar also in his 'Subramanyena
Rakshitoham' (Suddha Danyasi) and
Arunagirinathar in Tiruppugazh.
ANNASWAMI SASTRI (BHAGAVATHAR)-
MUSICAL DISCOURSE ARTISTE.........(b.July3,
1899)
Born at Pettai, Tirunelveli District of
Duraiswami Jadavallabar and Janaki Ammal, he had
his general studies at The Sanskrit College,
Tiruvaiyaru. He studied Sastras under
Bhuvaraghachariar and Madurai Ramasubba
Sastrigal. He had his training in harikatha
rendering under the renowned Tirupazhanam
Panchapakesa Bhagavathar and musical training
under Madirimangalam Natesa Ayyar and Kottaram
amasubba Sastrigal.
Varied training equipped Sastri with
rich knowledge, command over religious and
spiritual lore, capacity for robust presentation
and singing with raga bhava. He was
honoured by the Music Academy in 1955 as it has
done Mangudi Chidambara Bhagavathar and
Harikesanallur Muthiah Bhagavathar. Sastri
was noted for the use of rakti ragas and his
genial wit.
He was principal of the Harikatha
School, Tanjore. Was honoured by the Madras
Sangita Nataka Sangarn. Was Fellow of the
Central Sangita Nataka Academy in 1962.
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