A brief introduction about Music Saint Tyagaraja and his famous Pancharatna Kritis

1. SANGEETA GNANAMU
Ghana raga pancharatna of Tyagaraja Dr. Pappu Venugopala Rao
Nakarah pranamiyaha dakaraschanalo matah
Ahata anahatatvena sadvedha gadito budhaih
T
he soul initiates a process through the intellect,
the intellect touches the fire located in the
nabhi – the navel – it stimulates the air and that
produces the sound – nada.
The nada thus produced is expressed through nabhi hrit
kantha rasanadulu – the navel, heart, throat and tongue.
It is at the micro level at the nabhi, a little more
manifest in the heart region and is full in the throat.
Nada is of two types. That created without external
effort is anahata nada, only possible for the concentrated
minds of yogi-s. The second is ahata nada, the sound we
all produce.
Nada is an ocean. Nadopasana is a great yoga and a
path of liberation practised by saint composers like
the music trinity. Tyagaraja is one such nadopasaka
who realised the secrets of spiritualism through satvika
sangeetam.
Muthuswami Dikshitar’s style is likened to ‘narikela
pakam’ (the taste of coconut), that of Tyagaraja to Gaula, Arabhi, Varali and Sree. Treatises on music enlist
‘draksha’ (grapes) and Syama Sastry’s to ‘kadalee pakam’ five other raga-s also as ghana raga-s. They are Bauli,
(banana). Viewed in this background, the pancharatna-s Reetigaula, Kedaram, Narayanagaula and Salanganata.
of Tyagaraja reveal many nuances to us. Out of these ten, Tyagaraja composed in all the raga-s
except Salanganata.
Why are they called ‘ghana raga pancharatna’ at all?
Tyagaraja composed other groups of five kriti-s, like
The universe is created out of the five elements. Living the Kovvur, Tiruvottriyur, Lalgudi, and Srirangam. He
beings have five prana-s, namely prana, apana, vyana, did not classify them as pancharatna. The ghana raga
udana and samana. We are all enveloped in the five pancharatna were the result of a conscious effort by
senses, five gnanendriya-s and five karmendriya-s. Tyagaraja to rebut a criticism that his lyrical structure
The Upanishads speak of five kosa-s. was not as strong as his musical prowess. Tyagaraja
himself called them pancharatna and there is evidence
Though born at Tiruvarur, Tyagaraja spent most of his
to show that he sang these compositions in his
life at Tiruvaiyaru, a place of five rivers, known as
unchavritti. These five kriti-s established him during
panchanada kshetra. Siva here is known as
his time as a maha vaggeyakara, adept in both lakshya
Panchanadeeswara, and has five faces – Sadyojata,
and lakshana. Internal evidence also indicates that
Aghora, Easana, Tatpurusha and Vamadeva – from
they were written over a period of time, perhaps the
where the seven notes emanate. Even the seven tala-s
reason why his mudra is found more than once in some
are classified into five categories. These are the
kriti-s. Interestingly all the five are set in Adi tala.
specialities of the number five. And of course, Tyagaraja
attained samadhi on Pushya Bahula Panchami, the The first one in Nata, Jagadananda karaka, deals with
fifth day in the lunar calendar. ‘ananda’ the ultimate bliss. The steps to attain ananda
are the five kosa-s – annamaya, pranamaya, manomaya,
The pancharatna-s vignanamaya and anandamaya.
The pancharatna-s are in five ghana raga-s – Nata, The second composition Dudukugala in Gaula deals
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2. SANGEETA GNANAMU
with annam, the greed and avarice of human beings, Observe the beauty of tara shadja at “gaganadhipa
and the need to purify the annamaya kosa. satkulaja rajarajeswara” to show the sun at its height.
There are any number of beauties and secrets embedded
The third, Sadhinchene in Arabhi deals with the prana
in the very first composition.
of a devotee and how it subjects itself to tests.
Prof. Sambamoorthy was probably the first to advocate
The fourth, in Varali, Kanakana ruchira describes how
the concept of 108 names of the Lord in this
we can find the beauty of God when the heart is pure.
composition. However, as there are hardly about 90
The fifth, in Sree, Endaro mahanubhavulu depicts adjectives in this kriti, I do not therefore subscribe to his
the vignanam attained through the association of many view. In fact there are some beejakshara-s and mantra-
great souls. s embedded in all the five compositions. The easiest to
decipher among them of course is ‘Om’.
Tyagaraja does not deviate from devotion to Rama in
these five compositions; he describes him as ‘Janaki The first kriti is classified as a description of the ‘kalyana
prana nayaka’ in Jagadananda karaka; ‘Dorakoduku guna-s’ – auspicious nature and virtues of the Lord.
brochura’ in Dudukugala; ‘Manavendrudaina With long compounds and alliteration this kriti reflects
Ramachandrudu’ in Sadhinchene; ‘Sree Raghupatey’ in ‘Ojo guna’. The concept in the pancharatna-s is to create
Kanakana ruchira and ‘Raghuvara nee yeda sadbhaktiyu’ a positive vibration and that is precisely the reason why
in Endaro. they are rendered in ‘samashti gaanam’ or congregational
singing.
Description of Rama’s attributes
Repentance
Jagadananda karaka is in Nata, an ancient raga much
earlier even than the classification of the melakarta Let us move on to the second composition in Gaula,
system. It was Gambheera Nata at one time with Dudukugala nanne dora koduku brochura. The very first
the swarasthana-s of Sankarabharanam as an audava line of the kriti is a spiritually charged statement.
raga. Tygaraja’s Nata is sampoornam in arohanam and Tyagaraja asks: “Is there a prince who can rescue a
audavam in avarohanam. From the point of view of vicious person like me?”
swara structure, Jagadananda karaka is an unparalleled
He sings: I am vicious with many vices, sensuality.
composition written with the raga trayodasa lakshana-s
In youth I went from bad to worse not realising You,
and tala dasa prana-s in mind.
flattering others for money and material prosperity.
Look at the beauty and foresight in the very first line. It Thinking that mundane comforts are the purpose of
is divided into two equal halves with a fulcrum in life, I taught dancers and womanisers. I was glad and
between. Jagadananda karaka depicts His divine gloated, I misplaced my trust in materialism, wife,
personality. ‘Janaki prana nayaka’ is his human character. women, children, retinue of servants, never turning to
‘Jaya’ in between these two compounds acts like a Your lotus feet. A vicious man I am. Who can rescue me?
fulcrum as if to balance his incarnation in human form.
Drishtiki sarambagu lalana sadanardhaka sevamita
The entire composition revolves round these two aspects
dhanadulanu
of Rama, the Divine and the human.
Devadideva neranammiti gakanu nee pada abda bhajanambu
The ettugada reflects a heightened ananda. Likewise, marachina
‘Omkara panjara keera’ at the tara shadja shows how Dudukugala nanne dorakoduku brochuraa
elevated and rich is Omkara. The depths of the ocean are
shown in the structure of the mandra swara-s at ‘kalasa This is not, as many think, an autobiographical
neera nidhi ja ramana’. composition. It does not reflect Tyagaraja’s personality.
He takes these vices and follies on himself on behalf
Look at the compatibility and coherence between the of mankind. It applies to whoever reads or sings this
dhatu and the matu here: “Aganitaguna kanakachela song and to each one of us.
sala vidalana, arunabha samana charana apara
mahimadbhuta, sukavijana hritsadana suramuni gana Why does Tyagaraja use the words “dora koduku” instead
vihita, kalasa neeranidhi ja ramana papa gaja Nrisimha of just “dora”?
varatyagarajadhinuta.” Tyagaraja always meditated upon “Rama the prince”
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3. SANGEETA GNANAMU
and not as the emperor. Rama as prince established Golden vision
dharma, and “Ramo vigrahavan dharmah” says
Valmiki. Rama is the personification and embodiment The amalgamation of satire and praise in the third
of dharma. Tyagaraja is therefore attached to the ‘dora composition enabled Tyagaraja to behold Rama. He
koduku’. describes this experience in the fourth kriti in Varali,
Kanakana ruchi ra kanaka vasana ninnu.
The second kriti reflects the repentance of the devotee,
known as ‘naichyanusandhanam’ in philosophical termi- Tyagaraja describes his insatiable desire to see more
nology, considered a step towards realisation. and more of Rama. The beauty of God is beyond
description. In this song Tyagaraja sings of the many
Satire and praise devotees of the Lord who were fortunate to receive
his compassion. Seeta, Dhruva, Jatayu, Hanuman, Siva,
The third kriti in Arabhi is Sadhinchene. A devotee Narada, Parasara, Saunaka and other sages are listed
aspires for liberation and when it is delayed he resorts in this composition. He mentions those who were
to blaming God. Although it seems so on the surface, witness to the various componential results of devotion
there is an undercurrent of steadfast devotion in the to Rama – Hanuman for serving his lotus feet, Siva
blame game. This is known as vyaja ninda in poetics. for the pleasure in chanting his name, the deities and
This seemingly accusatory nature of the lyric is saints for the bliss of being able to see him.
ultimately aimed at praising the Almighty.
Kaminchi premameera karamula needu padakamalamula
Lets us try to understand the nature of the lyrics: battukonuvadu sakshi Ramanama rasikudu Kailasa
“He accomplished what he wanted, O mind! Making a sadanudu sakshi mariya Narada Parasara Suka Saunaka
mockery of his own persuasive words of righteousness, Purandara nagajadharaja mukhyulu sakshi gada Sundaresa
he made his will prevail. “Sadhinchene O manasa! sukhakalasambudhi vasasritulake. Kanakana ruchira.
Bodhinchina sanmarga vachanamula bonku jesi tabattina
pattu. Sadhinchene.” He spoke nice words to suit each The most important feature of this kriti is that it is
occasion – samayaniki tagu mataladene. He left Devaki seldom taught and is often self learnt. This superstition
and Vasudeva to their ordeal. has no rationale whatsoever.
Rangesudu sadganga janakudu sangeeta sampradayakudu In fact out of the five kriti-s only Jagadananda karaka
– He is the Lord of the world as a stage, source of and Endaro mahanubhavulu are independently sung
the holy Ganges, a traditionalist in music, but never did very often in concerts. Sadhinchene is not as popular
he fulfill the desires of the gopi-s. But Tyagaraja has while the other two – Dudukugala and Kanakana ruchira
praised Sree Venkatesa, the superior Lord Ramachandra generally find place only in group singing on Tyagaraja
as “suprakasa, sarvonnata, sajjana manasa niketana, aradhana days!
kanakambaradhara lasanmakuta kundala virajita
hareyanuchune pogadaga Tyagarajageyudu manavendrudaina Salutations
Ramachandrudu.” The last composition is by far the most superior from
This is the gist of the song. This state of mind of the many angles. It is a reflection of the nada siddhi of
devotee is called ‘aarta prapatti’ reflecting the indomitable Tyagaraja, that he salutes each and every devotee by
devotion and closeness of the devotee to the Lord to the name. The choice of Sree raga is very apt as it very well
extent that he finds fault with God himself. suits the tone of respect that he shows to all those
who have enriched the spiritual path. The kriti begins
In this composition, we find the raga Arabhi in full at the shadja. In the anupallavi itself we find a pleasing
flow from the ettugada beginning with the panchama alliteration and praise of Ramachandra: Chanduru
and madhyama, ranging in the anupallavi from madhya varnuni yandachandamunu hridayaravindamunajoochi
shadja to tara madhyama and the charana with an Brahmanandam anubhavinchuva. He salutes those great
equilateral flow of srotovaha yati, enlarging further as souls who were able to see the Lord’s beauty.
it grows from line to line. The swara and sahitya
combination at places like “Hare Ramachandra” and Tyagaraja then describes Rama as “Samagana lola” and
“Sree Venkatesa” is an astounding experience of bliss to “manasija lavanya”, one who enjoys celestial music and
connoisseurs. who is as handsome as Manmatha. He salutes those
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4. SANGEETA GNANAMU
who can control their monkey-like mind and are able Compliments are paid to the Lord in the first kriti, the
to see God. He salutes those who offer their mind at underlying mood is confession in the second, complaint
His feet: “Saraguna padamulaku svantamanu sarojamunu in the third, composure in the fourth and complete
samarpanamu seyuva.” surrender in the fifth kriti.
From this point, the flow of the song becomes wider, The five compositions are among the greatest creations
faster and deeper with salutations to those who know of Tyagaraja. The swara-s in these compositions are
God through their devotion, who know the secrets of sometimes listed as charanam-s, but should actually be
music – swara, raga and laya, those whose throats are called chittaswara-s or swara sahitya-s. The speciality of
adorned with the singing of the virtues of Hari, and these compositions lies in the swara sahitya.
who have compassion towards others. Hari guna
I believe the kriti in Arabhi should be sung with
manimaya saramulu galamuna sobhillu bhaktakotu lilalo
“Sadhinchene” as pallavi and also as the refrain instead
telivito chelimito karunagalgi jagamellanu sudhadhrishtiche
of repeating “samayaniki tagumataladi” after the swara
brochuvara-lendaro.
and sahitya. A detailed discussion on this is called for.
He then salutes those who can see Rama all the
We have inherited three great treasures from Tyagaraja.
time – the sages and saints, the celestial beings and
gods. Paramabhagavata maunivarasasi vibhakara 1. An empire of devotion to Sree Rama – Rama bhakti
Sanakasanandana digisa surakimpurusha kanakaKasipusuta samrajyamu.
Narada Tumburu pavanasunu balachandradhara sukasaroja
bhavabhoosuravarulu paramapavanulu. 2. Unparalleled rich music – Saramaina sangeetamu and
He goes on to salute the Bhagavata-s who know the 3. Great nectar of lyrical beauty – sudha madhurya bhashan
secrets in scriptures, purana-s and the six religious sukavitvamu
paths and who realise the essence of all these and All the three treasures are found in abundance in these
enjoy music. Bhagavata Ramayana Gitadi srutisastra five kriti-s.
puranapu marmamulan Sivadi shanmathamula goodhamulan
muppadi mukkoti suraantarangamula bhavambula nerigi The five compositions, when sung in goshti ganam or
bhava-raga-layadi saukhyamu che chirayuvul galigi niravadhi congregational singing, create a highly positive vibration
sukhatmulai Tyagarajaptulainavara-lendaro. charged with spiritualism. They should not be sung merely
as a ritual exercise, but as a spiritual means to achieve the
The pancharatna-s reflect five major states of mind. bliss embedded in them. n