DIkshithar, the Phenomenon- II
Note: Please read the previous post before you cut your teeth on this one. Titled DIkshithar, the Phenomenon.
I choose to begin this blog without much brouhaha; no quotes, no statements.
In the previous part of this tribute to DIkshithar, I touched upon the beauty and tangibility of his lyrics. In this one, I examine the rAga-bhAva aspects. An article on DIkshithar that I read recently stated that each krithi of DIkshithar, irrespective of the rAgam concerned, is a rAga AlApana couched in exquisite lyrics. It struck me very strongly at the time that this is probably the reason why, if one learns a krithi of his in a particular rAgam, one is able to assimilate that rAgam and its nuances with ease. Simply singing one of his krithis sans the sAhityam is nothing but an AlApana, and this applies to every single work of his-- such was MuthuswAmi DIkshithar's command over the world of ragas.
In particular, I will recommend Shri KAnthimatim(HEmavathi) and AgasthIshwaram(LalithA) as also RAmachandrENa SamrakshitOham(MAnji) and JambUpathE(YamunA KalyAni). The celebrated anupallavi of AgasthIshwaram is one fluid, bhAva-laden drug of a LalithA exposition, filling the listener with a tender, turbulent insatiability- I have seen people weep as they listen to this line, not knowing why they do so. And if LalithA creates a heavy, sombre mood, DIkshithar creates a different and equally vivid sensation with YamunA KalyAni; "Ambuthi gangA kAveri yamuna" is one of my favourite parts of that krithi. There is a sweet upsurge of joyousness and the listener, or rather the experiencer, is dipped in the sanctifying waters of the rivers and bathed in the gentle swell and dip of YamunA KalyAni, sunk in rapture.
Every ragam- be it a melakartA or a Janya rAgam- is brought out in all its flourishing glory- where DIkshithar was concerned, there was no question of any rAgam having a limited scope; a different scope, perhaps. :)
And the one chief distinguishing factors: while numerous other composers may have composed in these rAgas, very few, arguably, have been able to present them this creditably on all three scores- bhAvam, sAhityam, and full usage of the rAgam.
The next part of the topic will deal with DIkshithar, the actual personality behind his music.
Till then, "JambUpathE, mAm pAhi"!!
I choose to begin this blog without much brouhaha; no quotes, no statements.
In the previous part of this tribute to DIkshithar, I touched upon the beauty and tangibility of his lyrics. In this one, I examine the rAga-bhAva aspects. An article on DIkshithar that I read recently stated that each krithi of DIkshithar, irrespective of the rAgam concerned, is a rAga AlApana couched in exquisite lyrics. It struck me very strongly at the time that this is probably the reason why, if one learns a krithi of his in a particular rAgam, one is able to assimilate that rAgam and its nuances with ease. Simply singing one of his krithis sans the sAhityam is nothing but an AlApana, and this applies to every single work of his-- such was MuthuswAmi DIkshithar's command over the world of ragas.
In particular, I will recommend Shri KAnthimatim(HEmavathi) and AgasthIshwaram(LalithA) as also RAmachandrENa SamrakshitOham(MAnji) and JambUpathE(YamunA KalyAni). The celebrated anupallavi of AgasthIshwaram is one fluid, bhAva-laden drug of a LalithA exposition, filling the listener with a tender, turbulent insatiability- I have seen people weep as they listen to this line, not knowing why they do so. And if LalithA creates a heavy, sombre mood, DIkshithar creates a different and equally vivid sensation with YamunA KalyAni; "Ambuthi gangA kAveri yamuna" is one of my favourite parts of that krithi. There is a sweet upsurge of joyousness and the listener, or rather the experiencer, is dipped in the sanctifying waters of the rivers and bathed in the gentle swell and dip of YamunA KalyAni, sunk in rapture.
Every ragam- be it a melakartA or a Janya rAgam- is brought out in all its flourishing glory- where DIkshithar was concerned, there was no question of any rAgam having a limited scope; a different scope, perhaps. :)
And the one chief distinguishing factors: while numerous other composers may have composed in these rAgas, very few, arguably, have been able to present them this creditably on all three scores- bhAvam, sAhityam, and full usage of the rAgam.
The next part of the topic will deal with DIkshithar, the actual personality behind his music.
Till then, "JambUpathE, mAm pAhi"!!
Labels: DIkshithar
posted by Ramaa at 7:26 AM
5 Comments:
Wonderful blog..and thanks a lot for those comments on my blog too!! That agasthIshwaram anupallavi is too much. But Ahiri..Shri KamalAmbA Jayathi is the best..after the charanam ends and that take off on "deivatham 1" for the pallavi is too much!!Go Dikshithar..let the souls of this paapa world be liberated listening to this man/God.
:) I missed Shri KamalAmbA :) Shall include it soon. :)
Oops..I meant Dha 2..which is sparingly used..not Dha1. There are some wonderful krithis by thyagu too..SK sang one the other day..all great geniuses!! Entharo mahAnubhAvu ;)
:) My favourites are mostly Thyaagu krithis, as you may know. :). NaadalOludai, Entha MuddhO, UpachAramulanu, etc, etc. :)
I realize that I have not really invested much on Agastiswaram having been blown away by Hiranmayeem. I should make amends. :) Great post! keep them coming.
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