A comprehensive assessment of the greatness of Sri Thyagaraja.
The analytical study of the poetic lyrics of the songs pro- vides a fascinating insight into his music.
The philosophical depth and the message of the Upanishads and epics incorporated in Sri Thyagaraja's songs have been highlighted.
The exposition of some of the songs by the author, enlivens the music lore of Sri Thyagaraja.
The sentiments expressed in the prefaces, highlight the deterioration in the present day standard of Carnatic music performances.
The comments are aimed at the preservation and improvement of Carnatic music.
The write-ups present the state of Carnatic music handled by veterans of the past and its present status. The nearly one hundred songs included in this volume, gives an idea of the greatness of the comprehensive Saint composer ..
Although Sri Thyagaraja was first and foremost a music Composer and a creator of new expressions and forms in music, the fact that he was a competent poet and a master of felicitous expression has added great charm to his compositions and made them virtually 'poems set to music.' The beauty of the language to which music is set has a great deal to do with the permanency and popularity of the music. The diction of vaggeyakara, however, differs from that of poet because the diction most suited for music has to be euphorious and composed of soft and flowing words. The songs of Sri Thyagaraja are unrivalled in this respect.
SVK is not only a musicologist and music critic but also a literateur who has soaked himself in the poetical and philosophical beauties of the kritis of Sri Thyagaraja. His series in the Hindu was entitled "Know Your Thyagaraja" and was avidly read by musicians and music lovers over the years. SVK has his own way of interpreting Sri Thyagaraja in simple English, driving home his points with clarity and assurance.
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
|
|
The Messengers of Rama | 3 |
Pinnacle of Bhakti | 6 |
Who is equal to you? | 12 |
Sabari Bhagyam | 15 |
The Great story of Sita | 30 |
Sri Rama's Val our | 24 |
The Efficacy of his Name | 29 |
Roots of Rama Bhakti | 35 |
The Jiva Mantras | 41 |
Longing for Hanuman's Bliss | 46 |
Symbol of Protection | 52 |
Path to Salvation | 57 |
Beauty of Rama as an Ascetic | 66 |
The hold of Karma | 71 |
Portrait of Warrior | 76 |
Over to Tiruvaiyaru | 82 |
In the glory of Lakshmana | 85 |
On Music and Musicians | 90 |
Rama the soft - spoken | 96 |
Greatness of Bharata | 108 |
Part Two - Songs and Meanings | 111-206 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One Know Your Thyagaraja | |
Call of the Eternal | 3 |
Process of Introspection | 6 |
Rama, the only God | 13 |
Unserving Faith | 20 |
Deep Trust in God | 27 |
Secret ot the Saint's Avatara | 35 |
Bliss of Bhajana | 41 |
The Acme of Devotion | 47 |
The Path of Dhyana | 54 |
The Glory of Rama | 62 |
A Deliberate Choice | 68 |
The Kindly Light | 75 |
Shed Your Fear of Yama | 81 |
Part Two | |
Songs and Meanings | 89-149 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One | |
Know Your Thyagaraja | |
As Divine as the Lord Himself | 3 |
Even Heaven didn't matter to Him | 9 |
Brahma's Benediction | 16 |
The Path of Surrender | 24 |
Why Sing the Saint's Songs? | 33 |
The Songs Echo the Epic | 41 |
A Rich Legacy of Songs | 48 |
Two Facets of Devotion | 53 |
The Saint's Concern | 61 |
Rama Bhakti Samrajyam | 66 |
Take to Introspection | 74 |
Part Two | |
Songs and Meanings | 83-210 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One | 3 |
Prefaces on Carnatic Music | 7 |
Bhakti and sadhaka pillars of excellence | 12 |
Changing styles, .Changing tastes | 16 |
Time to bestow thought on improving standards | 18 |
Used as camouflage | 21 |
On the pretext of saving Carnatic music | 22 |
Vyavaharam - how much? | 28 |
Time for soul - searching | 31 |
A rasika movement is called for | 33 |
Rigorous training holds the key | 35 |
Concert or quiz programme | 37 |
The floodgates are open | 40 |
Why floodgates are open | 42 |
Primacy for lakshya or lakshana? | 44 |
Tambura makes the bow | 46 |
Insulated music circuit | 48 |
Where art descends to craft | 50 |
The tempo of the triad | 53 |
Concerts down the decades | 53 |
Opportunities and the responses | 58 |
Pull- push phenomenon | 61 |
Guidelines - past and present | 64 |
America beckons musicians | 66 |
This vicious music circle | 69 |
Percussive dominance | 72 |
Speed, swara motivation | 75 |
Vision and values of music | 78 |
The past, present and future | 80 |
The delicate balance | 83 |
From clap hunger to piety | 85 |
A legend in lifetime | 87 |
Crucial link between past and present | 89 |
Does Camatic music need promotional efforts? | 91 |
The enigma of poor attendance | 93 |
No place for exhibitionism | 94 |
A treasure preserved | 97-228 |
ThyagarajaAradhana: A suggestion | |
Part Two | |
Songs and Meanings |
A comprehensive assessment of the greatness of Sri Thyagaraja.
The analytical study of the poetic lyrics of the songs pro- vides a fascinating insight into his music.
The philosophical depth and the message of the Upanishads and epics incorporated in Sri Thyagaraja's songs have been highlighted.
The exposition of some of the songs by the author, enlivens the music lore of Sri Thyagaraja.
The sentiments expressed in the prefaces, highlight the deterioration in the present day standard of Carnatic music performances.
The comments are aimed at the preservation and improvement of Carnatic music.
The write-ups present the state of Carnatic music handled by veterans of the past and its present status. The nearly one hundred songs included in this volume, gives an idea of the greatness of the comprehensive Saint composer ..
Although Sri Thyagaraja was first and foremost a music Composer and a creator of new expressions and forms in music, the fact that he was a competent poet and a master of felicitous expression has added great charm to his compositions and made them virtually 'poems set to music.' The beauty of the language to which music is set has a great deal to do with the permanency and popularity of the music. The diction of vaggeyakara, however, differs from that of poet because the diction most suited for music has to be euphorious and composed of soft and flowing words. The songs of Sri Thyagaraja are unrivalled in this respect.
SVK is not only a musicologist and music critic but also a literateur who has soaked himself in the poetical and philosophical beauties of the kritis of Sri Thyagaraja. His series in the Hindu was entitled "Know Your Thyagaraja" and was avidly read by musicians and music lovers over the years. SVK has his own way of interpreting Sri Thyagaraja in simple English, driving home his points with clarity and assurance.
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
|
|
The Messengers of Rama | 3 |
Pinnacle of Bhakti | 6 |
Who is equal to you? | 12 |
Sabari Bhagyam | 15 |
The Great story of Sita | 30 |
Sri Rama's Val our | 24 |
The Efficacy of his Name | 29 |
Roots of Rama Bhakti | 35 |
The Jiva Mantras | 41 |
Longing for Hanuman's Bliss | 46 |
Symbol of Protection | 52 |
Path to Salvation | 57 |
Beauty of Rama as an Ascetic | 66 |
The hold of Karma | 71 |
Portrait of Warrior | 76 |
Over to Tiruvaiyaru | 82 |
In the glory of Lakshmana | 85 |
On Music and Musicians | 90 |
Rama the soft - spoken | 96 |
Greatness of Bharata | 108 |
Part Two - Songs and Meanings | 111-206 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One Know Your Thyagaraja | |
Call of the Eternal | 3 |
Process of Introspection | 6 |
Rama, the only God | 13 |
Unserving Faith | 20 |
Deep Trust in God | 27 |
Secret ot the Saint's Avatara | 35 |
Bliss of Bhajana | 41 |
The Acme of Devotion | 47 |
The Path of Dhyana | 54 |
The Glory of Rama | 62 |
A Deliberate Choice | 68 |
The Kindly Light | 75 |
Shed Your Fear of Yama | 81 |
Part Two | |
Songs and Meanings | 89-149 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One | |
Know Your Thyagaraja | |
As Divine as the Lord Himself | 3 |
Even Heaven didn't matter to Him | 9 |
Brahma's Benediction | 16 |
The Path of Surrender | 24 |
Why Sing the Saint's Songs? | 33 |
The Songs Echo the Epic | 41 |
A Rich Legacy of Songs | 48 |
Two Facets of Devotion | 53 |
The Saint's Concern | 61 |
Rama Bhakti Samrajyam | 66 |
Take to Introspection | 74 |
Part Two | |
Songs and Meanings | 83-210 |
|
|
Foreword | iii |
Message | iv |
Acknowledgements | v |
Know Your Thyagaraja | vi |
Part One | 3 |
Prefaces on Carnatic Music | 7 |
Bhakti and sadhaka pillars of excellence | 12 |
Changing styles, .Changing tastes | 16 |
Time to bestow thought on improving standards | 18 |
Used as camouflage | 21 |
On the pretext of saving Carnatic music | 22 |
Vyavaharam - how much? | 28 |
Time for soul - searching | 31 |
A rasika movement is called for | 33 |
Rigorous training holds the key | 35 |
Concert or quiz programme | 37 |
The floodgates are open | 40 |
Why floodgates are open | 42 |
Primacy for lakshya or lakshana? | 44 |
Tambura makes the bow | 46 |
Insulated music circuit | 48 |
Where art descends to craft | 50 |
The tempo of the triad | 53 |
Concerts down the decades | 53 |
Opportunities and the responses | 58 |
Pull- push phenomenon | 61 |
Guidelines - past and present | 64 |
America beckons musicians | 66 |
This vicious music circle | 69 |
Percussive dominance | 72 |
Speed, swara motivation | 75 |
Vision and values of music | 78 |
The past, present and future | 80 |
The delicate balance | 83 |
From clap hunger to piety | 85 |
A legend in lifetime | 87 |
Crucial link between past and present | 89 |
Does Camatic music need promotional efforts? | 91 |
The enigma of poor attendance | 93 |
No place for exhibitionism | 94 |
A treasure preserved | 97-228 |
ThyagarajaAradhana: A suggestion | |
Part Two | |
Songs and Meanings |