Brief Introduction of Music Composers
1. JAYADEVA ( 1101−1173 )
Jayadeva was a Sanskrit composer, great devotee of Lord Krishna and was Asthana kavi of King of
Bengal Lakshmanasena during 1178-1205 A.D. His father was Bhojadeva and mother Ramadevi. He
was born in the village of Kindubilva or Kenduli in Orissa. He has composed Geetha Govinda which
includes 24 Ashtapadi’s – composition with eight lines. His asthapadis portray Srigaara rasa and Bhakthi.
He has used his name as Ankitha.
2. Annamacharya ( 1424−1503 ) ( 1424−1503 )
He was born in Tallapakkam, in Andhra Pradesh. He was a great composer and musicologist. His
compositions include Pallavi, anupallavi and Charanam. He was fascinated by Azhvars and their
compositions and followed Ssri Ramanujacharya. He promoted Madhura Bhakthi . Works of
Annamacharya includes over 10000 Sankirtanas, 12 Shatakas, Sringara Manjari and Venkatachala
mahatmyam in praise of ord Venkateswara of Tirupathi. His compositions are in praise of ord
Venkateswara of Tirupati in Sanskrit and Telugu with ankitha Venkateswara.
His popular Compositions include: 1. Nanatibatuku in Raga Revathi,
2. Srimannarayana in Bowli, 3. Bhavamulona Shuddhadhanyasi)
3. Kshetragna ( 1614−1633 )
Ksetragna was born in Muvapuri in Krisha district of Andhra Pradesh. He promoted madhura
bhakti through Padams. He composed many of his padams on rare ragas. He is supposed to
have composed 4200 padams of which only about 125 are available today. Five of these
padams are in praise of King Vijayaraghava Naik of Tanjavur known as kshetrayya
Pancharatnams.
4. Bhadrachala Ramadasa ( 1620−1688 )
He was born to linganna Mantri and Kadamba in 1620 in Nelakondapalli , Andhra Pradesh. He was a
devotee of Vaikuta Rama of Bhadrachalam. His guru was Raghunatha Bhattacharya. His name was
Gpanna but later became known as Ramadsa because devotion to Rama. He has composed many
kirthanas in Telagu and Sanskrit. His compositions include:
1. Alola Tulasi in Shankarabharanam
2. Antaa raamamayayam in aananda bhairavi
3. Bhajare shreeraamam in Kalyani
4. Charamule nammiti – kapi
5. Dasharatha raama –shakaabharanam
6. Deena dayalo – Bhairavi, Kapi
7. Emayya raama – Kaambhoji
8. Etiki dayaraaduraa –mukhari
9. Kamalanayana Vasudeva- shenjuruti
10. Mithilesha tanaya – kaambhoji
5. Arunagirinathar ( 15 century )
He hails from Tanjavur in Tamilnadu. He composer of Tiruppagazh. He is believed to have
composed about 16000 songs, of which only about 2000 remain today. His Tiruppugazh led to
the invention of new genre of tala called Chanda Tala. He mainly composed his songs on lord
Subrahmanya.
His compositions include : 1. Vachana miga - Ataana
2. Erumayileri - Hamsanadi/ Mohanam)
3. Tullumada - Hamsunandi
6. Veena Kuppayyar ( 1798−1860 )
Veena Kuppayyar was born into a musical family in Tiruvottiyur. His father Sambamoorti Sastri
was a famous vocalist and a veena player. Kuppayyar was a disciple of his father and Saint
Tyagaraja. He also learnt violin. He was an Aasthana vidwan of Kovur Sundara Mudliar. He
trained many desciples. His ankitha was Gopaladasa. He has composed Krithi and Varnam in
Telagu. His compositions include: 1. Inta Paralekha – Begada –Rupaka
2. Vinayaka Ninnuvina – Hamsadvani – Adi
3. Inta Chalamu – Begada – Adi
4. Inta Chouka –Bilahar – Adi
5. Nenarunchi – Danyasi – Khanda Ata
6. Koniyadina – Kambhoji –Adi
7. Sami nine kori –Sankaraabharana
7. Sadashiva Brahmendra ( 18 century )
He belonged a villge Tiruvisainallur on banks of Cauvery in Tamilnadu. He became an avadhuta
sannyasi He hasand performed strenuous sadhana. He was a great scholar who studied
under Ramabhadra Dikshitar and later under the Sankaracharya of Kanchipuram. He wrote
many devotional songs, also wrote Brahma sutra vruddhi, Atma Vidya Vilasam, Siddhanta-kalpa
-valli and Siva Manasika Puja Keertanas. He used the Ankita paramahansa. His compositions
include:
1. Manasa Sancharare
2. Sarvam Brahma mayam
3. Khelati mama hrudaye rama
4. Pibare rama rasam
5. Bruhi Mukundeti
8. Narayana Thirtha ( 16∨17 century )
He took up sanyaasa at an early age. His most famous contribution is the ‘Sri Krishna
Leela Tarangini’ a dance drama in praise of lord Krishna. It is in Sanskrit and consisted
of twelve tarangas. He has composed 147 keerthanas, 267 slokams and 39 gadyams
9. Mysore Sadashiva Rao
A prominent vocalist of the Mysore court, he can be credied as the pioneer of Mysore Bani. Sadashiva
Rao was born to Ganesha Rao and Krishna Bai at Girampet near Chittoor in North Arcot. They were
Marathi Smartha Deshasthas. He had his musical training under Venkataramana Bhagavatar, a pupil of
Thyagaraja. Two of his patrons, brought him to Mysore and introduced him to Sri Krishnaraja Wadayar
III, the Mysore king at the time. Impressed by his singing, he was made a court musician.
Sadashiva Rao was also a great teacher. His disciples like Veena Sheshanna and Veena Subbanna later
became legendary musicians. Sadashiva Rao has composed mostly in Telugu. He went on a pilgrimage of
south India and composed krithi-s at all the temples he visited. He also composed a krithi for Thyagaraja
and sung it when he visited Walajapet.
His ankitha was Sadashiva and composed krithis in telugu and Sanskrit.
His Compositions are: 1. Devadideva - Mayamalavagaula – Adi
2. Gangadhara Tripuraharana - Purvikalyani - Misra Chapu
3. Paramabhuta Maina - Khamas - Adi
4. Sita Lakshmana Sametha- Kambhoji - Jhampa
5. Sri Kamakotipeetha - Saveri - Adi
10. Mysore Vasudevachar
Vasudevachar was born in Mysore on 28th May, 1965. He was trained in Sanskrit by his maternal grand
father after the early demise of his father. His intial musical training was from Veena Padmanabhayya of
Mysore, but his musical lineage can be traced to Saint Tyagaraja through Manambuchavadi
Venkatasubbayyar and Patnam Subramania Iyer. As a teenager, his fame reached the Maharaja of
Mysore, who had him sent to Tiruvayyar to learn music under Patnam Subramanya Iyer. He learned
music there and then returned to Mysore and was appointed astaana vidwan athe royal court..
He has more than 200 compositionsand published 150 himself, and now 140 are included in a set a set
of 21 cassettes. His compositions include pada varnams, taana varnams, kritis, javalis, tillanas and
ragamalikas, and he composed in both chaste Telugu and Sanskrit. He used common ragas and
popularized ragas like abheri, behaag, and khamas (using kaakali Ni unlike Tyagaraja) with his famous
compositions, but he also used unusual ragas like megharanjani, sunaadavinodini, pushpalatika, and
sudda saalavi. His compositions were set in various talas. He composed krithis in Telugu, Kannada,
Sanskrit.
His Compositions include :1. Abhimanamutho- Shanmukhapriya- Triputa
2. Bala gopalam- Bhairavi –Adi
3. Bhaja manasa –Mandari- Misra Chapu
4. Bhaja manasa Saraswati- Sankarabharanam- Adi
5. Bhajare re manasa- Abheri -Adi
6. Brocheva re varura –Khamas- Adi
7. Brovarada Sri -Varunapriya -Adi
8. Deavaki Tanaya Vasudeva –Pushpalatika- Rupaka
9. Devadi deva- Sunadavinodini -Adi
10. Girija Ramana- Gambhiranatta- Adi
11. Gurukripaleka- Pushpalatika-Rupaka
12. Idi Samayamu- Natakapriya- Rupaka
13. Nera mammithi-Chakravakam -Adi
14. Ni padamule- Sarasangi- Adi
15. Ni padamulu- Nayaki- Triputa
16. Ninne nammithi- Simhendramadhyamam- Misra Chapu
17. Sri Purandara guruvaram -Saraswati Manohari- Adi
11. Patnam Subramanya Iyer ( 1855−1902 )
Patnam Subramanya Iyer was a great vocalist, teacher and composer.He was born in 1845 in Tanjavur to
Bharatham Vaidyanatha Iyer, his father. He hailed from a musical tradition: his grandfather was
Bharatham Panchanada Sastry, the samasthana vidwan at the court of Serfoji II and his uncle Melatture
Ganapati Sastrigal was also a vocalist and taught him music, along with Kothavasal Venkatarama Iyer
and Manambucchavadi Venkatasubbaiyyar. Among his sishyas were Ramanathapuram (Poochi) Srinivasa
Iyengar, Kakinada C.S. Krishnaswamy Iyer, G Narayanaswamy Iyer, Mysore Vasudevacharya, Guruswamy
Iyer, Tiger Varadachariar, Muthialpet Sesha Iyer (known as Kulla Sesha Iyer), M.S. Ramaswamy Iyer, and
Enadi Laksmi. He was the Asthana Vidwan to the Courts of Travancore, Mysore, Vijayanagaram and
Ramanathapuram. He has composed over a 100 pieces, including tana and pada varnas, kritis, tillanas
and javalis. He has set a pallavi to the Simhanandana Tala, the longest tala. He used the mudras
Venkateswara, Adi Venkateswara, Varada Venkateswara, Sri Varada Venkateswara or Venkatesa. He is
credited with the creation of the raaga Kathana Kuthuhalam. Famous for singing begada, he earned the
name Begada Subramanya Iyer. He died July 31st, 1902 in Tiruvayyar. He used Ankita as Venkatesha,
Venkateswara. He composed Krithis, Tillana and Jawalis in telugu, tamil and Snaskrit.
Compositions include : 1. Aa samayam unakemi –Saranga- Adi
2. Abhimanamu -Begada -Adi
3. Bhajare manasa -Sugunabhushani -Rupaka
4. Dari teliyaka- Darbar- Ata
5. Eranapai- Mukhari -Adi –Varnam
6. Ernanapai- HanumaThodi Adi -Varna
7. Evaribodha –Abhogi- Adi -Varna
8. Evarunaru nannu –Simhavahini- Adi
9. Garuda gamana- Nagasvaravali- Rupaka
10. Jalajakshi -Chakravakam –Adi-
11. Varamolusagi- Keeravani -Rupaka
11. Jayachamarajendra Wodeyar ( 1995−1 973 )
Jayachamaraja Wodeyar was one of the rare Kings who was also an important musicologist and Sanskrit
composer. Jayachamaraja Wodeyar was born in Mysore on 18th July, 1919 as the son of
Kanteerava Narasimharaja Wodeyar. He received traing from ashtana vidhwans in all arts and
sciences. Mysore kings were great patrons of art and music. They had in their court great
musicians from all over India, both Carnatic and Hindustani.Jayachamaraja Wodeyar ascended
to the throne in 1940, after the death of Chamaraja Wodeyar IV and ruled till 1950, when he
handed over the state to the Indian republic, ending 550 years of Wodeyar rule. But, he
continued to be the constitutional head of Mysore state as the Raja Pramukh (1950-56), till the
post was abolished. He was then the first governor of Mysore state (1956-65) and also Madras
state (1964-67).As a great patron of music, he had several artists in his court - Tiger
VaradachariarMysore Vasudevachar, Muthaiah Bhagavathar, Gotuvadyam Narayana Iyengar
and Ariyakudi Ramanuja Iyengar. Jayachamaraja Wodeyar composed about 90 krithi-s in
Sanskrit, some in rare raaga-s like Bhogavasanta, Durvangi. He had great interest in western
music too. He was the recipient of D.Lit from Queensland University, Australia, Doctor of Law
from Banaras University, and D.Lit from Annamalai University. He was honorary Fellow of Trinity
College of Music, London, in the year 1945.
Compositions include:
Bhooribhagyalahari Pratapavarali Adi
Brahmananda valaye Maand Triputa
Chintayami Jagadambha Hindolam Adi
Chinthaye sada Sindhuramakriya Adi
Chintyami santhanama Varunapriya Adi
Devi Jadambika Vasantha Bhairavi Khanda Jhampa
Gam Ganapathi Durvangi Triputa
Kamakshi pahi mam Shivakambodi Khanda Triputa
Kshirasagara Mayamalavagaula Dhruva
Matanga kanyam Sudha Thodi Khanda Triputa
Nadarupini vandeham Kokilapanchamam Adi
Neelakantam Mahadevam Purvikalyani Misra Triputa
Pahi mam Supradeepa Adi
Pahimam Sitarama Hindola Desika Adi
Pahimam Sri Parameswari Hindola Durbar Rupaka
Rajarajeswarim Balachandrika Khanda Triputa
Sri Chakrapurvasini Sudha Lalitha Adi
Sri Gayatri Gamanasrama Druva
Sri Jalandhara masrayamyaham Gambhiranatta Adi
Sri Ranganathani Kalyanavasantham Jhampa
Sri vidya lalitham Nadabrahma Adi
Sri Vidyamodini Kokilabhashini Tisra Triputa
Sri Vidyapati Lalitha Panchamam Adi
Srichamundeswari Kannada Adi
Srilalitham maha Nagadhvani Khanda Triputa
Suranandinee Suranandini Adi
Suvarnangi Suvarnangi Misra Jhampa
Swaminatha palaya Charukesi Triputa
Vandeham Sive Kathanakuthuhalam Matya
Vandehamsada Hamsanatini Adi
Vijayatam sagare Vishwambhari Triputa
Vimalambike paripahim Vijayavasantha Adi
12. Papanasanam Shivan ( 1890−1973 )
Papanasam Shivan is the most important Carnatic Composer in Tamil. He has composed over two
thousand songs in seventy five raaga-s. He is known as Tamil Thyagaraja.
Papanasam Shivan was born in 1890 in Polaham, Tanjavur district. His real name was Polagam Ramaiah.
His father passed away very early, forcing his mother to move to Thiruvananthapuram. Papanasam
Shivan studied Sanskrit at Maharajah's college. His musical training was mostly informal. He was guided
and influenced by Neelakanta Sivan and Konerirajapuram Vaidyanatha Iyer. The limited formal training
he had was from Samba Bhagavatar and Mahadeva Bhagavatar. He also never had any formal training in
Tamil.
He was a teacher at Kalakshetra for sometime. During that time he got a big break and started working
for the Tamil music indutry. About 800 of his compositions would be for the film industry. He is perhaps
the only Carnatic composer to have so extensively worked for the film industry. Papanasam Shivan's
carnatic compositions were mostly spontaneous and noted down by others. His compositions were
mostly in Tamil, even though he has some Sanskrit compositions. In 1972 he was awarded,
belatedly, Sangeetha Kalanidhi by Madras Music academy.
Compositions include: 1. abhayAmbikA ramaNa-shankarAbharaNa-Adi
2. adbhuta lIlaigaLai-madhyamAvati-Adi
3 . adimai ennai-mukhAri-rupaka
4. Akhilandanayaki-shankarabharana-Adi-krithi
5. Akhilandeshvari-shri-Adii
6. Ananda naTamADum ayyan-shuddhadhanyAsi-rUpaka
7. AnandamE paramAnandamE-kAmbhOji-Adi-krithi
8. cAmuNDEshvari-sAvEri-Adi-krithi
9. candra kalAvatam-shankarAbharaNa-Adi-krithi
10. durgAlakSmi-Arabhi-Adi
11. Gajavadana-shrIranjani-Adi
12. GAna rasamuDan -bEgaDa-rUpaka
13. jaya jaya guhA-shuddhadhanyAsi-Adi
14. naTana sabhApatiyE-nATakuranji-Adi
15. padmanAbha mAm pAhi- -kalyANi-dEshAd
13. Dr. Harikesanallur Muthaiah Bhagavathar ( 1877−19 )
Dr. Harikesanallur Muthaiah Bhagavathar is one of the most important post-trinity
composers and an important vocalist as well.Muthaiah Bhagavathar was born to Lingam Iyer
and Anamdam in 1877. After the early death of his father, he was brought up by his maternal
uncle Lakshamana Suri of Harikesanallur, who taught his Sanskrit, Vedas and music. He got
further musical training from Sambasiva Iyer and his son T. S. Sabesa Iyer, who belonged to the
Thyagaraja shishya parampara. As a vocalist, his big break came when in 1887 he sang before
Maharaja Mulam Thirunal of Travancore who honoured him as a court musician. This
established him as one of the front ranking musicians of the time. Later he started giving
Harikatha performances, for which he earned the name Bhagavathar. This was the time he
started composing, which he would use in his Harikatha-s.
The next phase of his life was as a court musician in Mysore, from 1927. Most of his
compositions were from this period. Initially he composed mostly in Madhyakala, like Shri
Tyagaraja. After 1931, he was influenced by Muthuswamy Dikshitar compositions and started
compoing in vilambita kala. In 1936, he was again invited by Maharani Sethu Parvathi of
Travancore and he spent several years there. during that time, one of his major contributions
was popularising Swati Tirunal compositions. He was also the first prinicipal of "Swathi Thirunal
Academy of Music" there.Apart from being a vocalist and composer, Muthaiah Bhagavathar was
also a learned musicologist. He was actively involved in the Annual Conference of Experts
conducted by The Music Academy of Madras. In 1930 he was awarded the Sangeetha Kalanidhi
by the academy. He also wrote a book on the science of music, Sangeetha Kalpa Dhruma, for
which he was awarded Degree of Doctorate in 1943 by the Travancore state. His ankitha is
Harikesha.
Compositions:
Amba mahavani Saraswati Manohari Khanda Chapu
Ambavanina Keeravani Adi
Anagham akhilandam Mandari Rupaka
Ananthapadmanabham Malahari Rupaka
Ananthaya sarvaya Bauli Adi
Angaraka Mangalamurthye Ritigaula Rupaka
Atisundaram avyaktham Simhendramadhyamam Rupaka
Bhagavate rudraya Kurinji Adi
Bhajamyaham avyayam Nagagandhari Adi
Bhakthavalsala paramesvara Karnataka Bihag Rupaka
Bhandasuravimardini Manirang Rupaka
Chandrashekara vibushite Sankarabharanam Adi
Charuvikrama Hamsadhwani Adi
Chidanikunda sambhute Ataana Adi
Devi Gaurininna Gaurimanohari Khanda Chapu
Devi Sivadutipradae Punnagavarali Rupaka
Devi Sri Mahalakshmi Harinarayani Adi
Gamganapathe namo nama Hamsadhwani Rupaka
Ganesha skanda janani Nagabhushani Rupaka
Garudavahana Garudadhwani Rupaka
Himagiri tanaye Udayaravichandrika Adi
Jalandharasupeethasthe Valaji Rupaka
Jaya Mahishasura Hamsadhwani Rupaka
Jaya Narayana Abhogi Adi
Kadambavanavasini Bhoopalam Triputa
Kala ratri svaroopini Urmika/Sudha Adi
Madhu kaitabha Arabhi Rupaka
Mahatripura Sundar Purnachandrika Rupaka
Nee padamulanu Natabhairavi Adi
Needu mahima Hamsanandi Adi
Nilalohita Malavi Adi
Parasu hasthaya Navarasa Kannada Rupaka
Samayamide nannu Budhamanohari Adi
Siddhi Vinayakom Mohanakalyani Adi
Sri Mahaganapathe Kambhoji Ata
14. Koteeswara Iyer (1870 - 1940)
Koteeswara Iyer is an important post-trinity composer, known for his many krithi-s in Vivadhi
Raagas. Koteeswara Iyer was born into a music famly. His grand father was the famous poet and
composer Kavikunjara Bharati, a contemporary of the trinity. Koteeswara Iyer was initially
trained by his grand father. Later he was trained by Ramnad Sreenivasa Iyengar and then by
Patnam Subramania Iyer. Koteeswara Iyer's mudra, Kavi Kunjaradasan, shows his respect for his
grand father, Kavikunjara Bharati.
Koteeswara Iyer penned over 200 compositions. He also composed a krithi in each of
the 72 mela-s and published them in his book Kandha Gaanamritham. But he is well known for
his Vivaadi raaga krith-s like Mohanakara (Neethimathi), Ma madhura sarasa (Ganamurthi) and
Singara Kumari (Varunapriya). Famous vocalist S. Rajam is one of the artists who has sung a lot
of Koteeswara Iyer krithi-s and popularized them
His Compositions include: 1. Alagade Hatakambari Adi Krithi.
2. Amboruha padame Natabhairavi Rupaka Krithi.
3. Ananda rakshaka Jhalavarali Adi Krithi. .
4. Appa Muruga Divyamani Adi Krithi.
5. Arul shaiya Rasikapriya Adi Krithi
6. Dasanena Gukasena Vanaspathi Adi Krithi
7. En maname Namanarayani Adi Krithi.
8. Ganamudham Salagam Adi Krithi
9. Ganasudhaapanamu Jyotisvarupini Misra Chapu Krithi.
10. Gitamudame Madhyamavathi Adi Krithi
15. Subbaraya Shastry (1803-1862)
Subbaraya Shastry was the son and disciple of Shyama Shastry, one of the famous trinity. He
also has the unique distinction of being a disciple of all the three of the trinity, having also learnt
from Shri Tyagaraja and Muthuswamy Dhikshithar.
Subbaraya was born as the second son of Shyama Shastry in Tanjavur. He studied music initially
from his father. Later Shyama Shastry asked Thyagaraja to teach his son and sent Subbaraya to
him. Thyagaraja had great respect for Shyama Shastry and gladly took Subbaraya as a disciple,
who soon became one of his favourite students. After a few years Subbaraya came back and
continued his studies under his father. He also had the opportunity to learn a few krithi-s from
Dheekshithar. He also learnt Hindustani music from Ramadas Swami.
Later Subbaraya Shastry shifted to Udayarpalayam, whose rulers became his patrons. Since he
had no sons, he adopted his nephew Annasami Sastri, who became his primary disciple and an
accomplished composer. Tanjavur Kamakshi, the dancer, was one of his disciples. Legendary
Veena Dhannammal was the grand daughter of Tanjavur Kamakshi. Subbaraya Shastry
composed only a couple of dozen krithi-s. But their rasa-bhava, devotion and intricacies have
made them enduring and famous. Influence of all three of the trinity can be found in his
compositions - words and chitha swara-s by his father, and in madhyama kaalam by Tyagaraja,
slower speeds by Dhikshithar.
1. Janani ninnu vina - Ritigaula - Chapu
2. Minanayana - Darbar - Rupaka
3. Ninnuvina gati gana - Mecha Kalyani – Adi
4. Sri Kamalambika - Desya Todi - Rupaka
5. Vanajasana vinutha - Shri – Rupaka
16. Subbarama Dikshitar (1839-1906)
Subbarama Dikshitar (1839-1906): He was the nephew of the illustrious Muthusawamy Dikshitar
and grandson of Baluswamy Dikshitar, brother of Muthuswamy Dikshitar. Subbrama Dikshitar
was a learned Sanskrit scholar and he was also very proficient in playing the Veena and the
theory of Carnatic music.
Subbarama Dikshitar had composed many varnams and other compositions. He is most well
known for writing the theory of music and the book, Sangeeta Sampradaya Pradarsini. In this
book, he has included his compositions and has also elaborated on Venkatamukhi's melakarta
scheme. The book is widely used by musicologists and other scholars as a reference manual.
Most of his compositions were in the Telugu language.
17. Wallajapet Venkatramana Bhagavathar (18/19th Centuries)
Like many of his great predecessors, Venkatramana Bhagavathar was also born in Thanjavur
district. Like the mythical Ekalavya, Venkatramana Bhagavathar, for a long time, could learn
music from Sri Thyagaraja Swami only from a distance; by observing him teach his disciples. He
used to take Thulasi for Sri Thyagaraja Swami's pooja routine and admiring his sense of devotion
and bhakthi, Sri Thyagaraja Swami began to teach music to Venkatramana Bhagavathar.
Venkatramana Bhagavathar later settled down in Wallajapet, nearer to Madras and thus
established the Wallajapet school traiditon of Sri Thyagaraja Swami's disciples.
Several of his compositions were dedicated to the memory of his guru. Some of his
compositions include: 1. Gurucharanam Bhajare in Sankarabharanam;
2. Kanulara Kantini .(Dhanyasi),
3. Sri Rama Brahma (Begadai)
4. Sri Narasimha in Kanada.
18. Pallavi Seshayyar (1842-1905)
Pallvai Seshayyar is the son of Neyakkarpatti Subbayar, a disciple of
Saint Thyagaraja. Pallavi Seshayyar loearnt music from his father. He had composed several kritis, Pada-
Varnams and Thillanas and has used rare ragas such as Mallikavasanta and Suddha. He was also a gifted
singer and his ability to render complicated Pallavais earned him the title Pallavi Seshayyar. He was an
ardent devotee of Lord Rama and all his compositions were in praise of Sri rama.
19. Thiruvottiyur Thyaggaya (1845 - 1917)
He was born in Thiruvottiyur, near Madras city. Thyaggaya hailed from a family of musicians and
was the son of another famour composer, Veena Kuppayyar. He composed many Varnams and Kritis and
most of them were in his native Telugu language. Some of the popular kritis of Thiruvottiyur Thyaggaya
include: Chalamela (Darbar), Ela na pai inta in Simharava, Inta parakelara in Nattakurinji, and
Samidayajuda in Kedaragaulam.
20. Swathi Thirunal Maharaja
Swathi Thirunal Maharaja hails from the Kerala Royal family. He was born in 1813 and was
named Bala Rama Varma. However, because his birth star was Swathi, he was popularly known
as Swathi Thirunal. From his very young age, Swathi Thirunal showed interests in the fine arts
and in learning. As a King, Swathi Thirunal invited great artists to his court (e.g. Harikesanallur
Muthia Bhagavathar) and encouraged the propagation of Indian fine arts including Hindustani
music, Bharathanatyam and Mohin Aattam.
Swathi Thirunal composed several songs including pada varnams, swarajathis, and thillanas. Like
many of his contemporaries and successors, Swathi Thirunal Maharaja emphasized bhathi or
devotion over romance or similar emotions in his compositions. He used the signature
Padmanabha, the presiding deity of the Trivandrum temple in his compositions. Some of his well
known compositions include: Bhavayami Raghuramam (Ragamalika), Bhajabhajamaanasa
(Sindhu Bhairavi), Chalamela (Sankarabharanam). Devadeva Kalayami (Mayamalava Gaula), and
Gopalakapahimam (Bhoopalam).
21. Shyama Shastri
Shyama Shastri was the oldest of the Trinity of Carnatic music. He was a contemporary of the
other two, Tyagaraja and Muthuswami Dikshitar, and was a personal friend of the former. He
was born Venkatakrishna, in Tiruvarur (of Thanjavur district in Tamil Nadu) on April 26, 1762,
into the scholarly and priestly Tamil Brahmin family of Viswanatha Iyer; a family not particularly
interested in music. Though Shyama Shastri attained scholarship in Telugu and Sanskrit at a
young age, he got no further than the elementary stages in music education, in spite of his
melodious voice. When he was eighteen years old, his family moved to Tanjore.
Around then, his family got a chance to host a sanyasi (monk), sangitaswami, a master of dance
and music, who was spending some four months in Tanjore. The sanyasi was quick to discover
Shyama Shastri's keen intellect, melodious voice and musical talent and foresaw greatness in
him. He obtained the father's consent to tutor the son in music and taught Shyama Shastri all
aspects of raga, tala and swara prasthara-s. The teacher found that the student could absorb
even the intricate details very quickly, all in a matter of four months or less. Sangitaswami
presented Shyama Shastri with a few rare treatises on music and certified that the student had
gained full knowledge on the theoretical aspects of music. He advised his student to seek the
friendship of and listen to the music (but not learn anything from) one Pachimiriam Adiyappayya
Ayya, a composer of the famous bhairavi ata tala varnam, viriboni, and a court musician in
Tanjore. Shyama Shastri duly did as he was advised.
Over the years, Shyama Shastri became a well-known and respected musician, scholar and a
composer. He was quite admired and respected by Tyagaraja and it appears that the two of
them often held scholarly and lengthy discussions on their latest compositions. Shyama Shastri,
like his father was the archaka (priest) in the Bangaru Kamakshi Temple in Tanjore. He was a
very pious and genuine devotee of Goddess Kamakshi. He is believed to have lost consciousness
of the outside world on several occasions as he prayed to the Goddess. On such occasions, he
would sing his kriti-s extemporaneously. His father had the patronage of the Tanjore king.
Hence, the family was financially comfortable.
Shyama Shastri had two sons, Panju Shastri and Subbaraya Shastri. The former became a priest
and the latter was a versatile musician (and a disciple of Tyagaraja). Through Panju Shastri, the
family tree grew and produced quite a few scholars. Shyama Shastri's great grandson was alive
till the age of 94 and passed away only in 1950. Hence, many incidents of Shyama Shastri's life
are known. He was reportedly a tall and a rather stout person with a fondness for betel leaves!
Shyama Shastri, like Tyagaraja and Dikshitar, was well-versed in astrology. Like his great
contemporaries, he too correctly predicted the time of his passing. He passed away on February
6, 1827, six days after, his devoted wife passed away.
Although he did not compose as many kriti-s as his two prolific contemporaries, Shyama
Shastri's compositions are equally well known. It is said that he has composed about three
hundred pieces in all. He did not have too many disciples to propagate his compositions, nor
was the printing press an easy convenience during his time! More importantly, the scholarly
nature of his compositions was not appealing to the layperson; they needed to be studied to be
savoured. He composed in Telugu, Sanskrit and Tamil and mostly on Goddess Devi. He has
composed kriti-s in, varnam-s and swarajati-s with the ankita/mudra (signature) 'Shyama
Krishna'. He is said to be the architect of the swarajati musical form. His set of three famous
swarajati-s is referred to as ratna trayam. These are in Bhairavi, Yadukulakambodhi and Todi.
Shyama Shastri's compositionsare usually in common raga-s, except for a few in raga-s such as
Manji, Chintamani, Kalagada and Karnataka Kapi. His favourite raga-s seem to have been Saveri
and Anandabhairavi, judging from the number of kriti-s composed in these raga-s.
Anandabhairavi, an old raga that was frequently used in folk music, seemed to acquire a new
stature after he composed masterpieces such as mariveregati, himachala tanaya, o jagadamba,
pahi sri giriraja and even a couple of varnam-s in it. His rare originality was in swara sahitya
compositions and the use of swarakshara. In other words, swara and sahitya having identical
sounding syllables such as 'padasarara' corresponding to the swara-s pa da sa in the kriti, devi ni
in Kambodhi. Though most of his compositions are on Goddess Kamakshi, he is said to have
composed his navaratnamalika on Goddess Meenakshi of Madurai at the request of a person
unknown to him. These include kriti-s such as saroja dala netri in Shankarabharanam, mayamma
in Ahiri, meena lochana brova in Dhanyasi , etc. His Krithis usually have the pen-name
ShyamaKrishna in the charanam of the song.
Shyama Shastri would perhaps stand out most for the "rhythmic beauties" employed in his kriti-
s, such as the use of five-syllable words like sarasamukhi, varamosagu, kamalamukhi, etc. These
correspond to the rhythmic phrase "ta dhin gi na thom". His kriti-s feature the abundant use of
the misra chapu tala (4+3). He also features dual rhythms as in sankari samkuru in raga saveri,
with the inherent rhythm of rupakam and a suggestive rhythm of adi tala. "Shyama Shastri had a
rhythmical frame of mind and he was always swimming in the ethereal regions of rhythm and
tala prasthara.
Shyama Shastri is credited with about 300 songs, of which only about 60 - 70 are available
today. He
composed a group of nine kritis known as Navaratnamalika (garland of nine gems) in praise of
Goddess Meenakshi of Madurai temple. He has composed three peerless Swarajatis, collectively
known as the Ratnatrayam. He has also composed a few Varnams, not to mention other
compositions in rare ragas, like Chintamani (his own discovery), Kalagada etc. His favourite raga
seems to be Anandabhairavi, in which he has excelled himself.
22.
