https://www.thehindu.com/entertainment/music/U.Ve.Sa%E2%80%99s-brush-with-Carnatic-music/article17278158.ece
U.Ve.Sa’s brush with Carnatic music
The savant made interesting jottings in Tamil periodicals.
‘Talaimuraikkum Podhum,’ the recently released Tamil book of the collected articles of the Tamil savant, U.Ve. Swaminatha Iyer (1855-1942) throws light on the musicians, composers, connoisseurs and patrons such as zamindars and landlords with whom he interacted during his lifetime. U.Ve.Sa. comes across as a skilled short story writer, an unparalleled chronicler, extraordinary story teller, keen observer of men and matters and above all a brilliant raconteur in this Kalachuvadu compilation, sourced from his contributions to various Tamil journals including Kalaimagal, Ananda Vikatan, Hanuman, Swadesamitran Dinamani and Silpa Sri.
U.Ve.Sa. narrates each instance with authority as he was a witness to it. Where he had heard from his father or his close acquaintance, he quotes their names, as well as, the source.
The events at the Dharmapura Adheenam or Tirupanandal Adheenam bear testimony to Tamil Thatha’s loyalty towards the presiding Desikars of the time. Melagaram Sri Subramania Desikar took great care of U.Ve.Sa. Besides giving biographic details of his teachers – Mahavidwan Meenakshisundaram Pillai and Vidwan Thyagaraja Chettiyar, ‘Ghanam’ Krishnaiyer, Gopalakrishna Bharati, Maha Vaidyanatha Iyer, Tiruvidaimarudur Ramadasar, Muthusamy Dikshitar, ‘Sankarabaranam’ Narasaiyer (who pledged the raga to the Kabisthalam Moopanar), Venkatarama Bhagavatar, Chinna and‘Periya’ Vaidyanatha Iyer, Raja Ganapadigal, Periya Tirukundram Subbaramaiyer, Papanasa Mudaliar - U.Ve.Sa. has drawn pen-sketches of various composers and musicians of his time. Especially, the description of the mannerisms of Periya Vaidyanatha Iyer is hilarious.
U.Ve.Sa. weaves into his articles interesting anecdotes and episodes. Sample these:
Kesavaiah, an expert in Ghanam singing, came to Thanjavur from Bobbili. He entertained the king and the vidwans in the palace with his sonorous voice, compared to the roar of a lion. The king wanted to know why none from his region came forward to sing Ghanam like Kesavaiah. Hearing this, Krishnaiyer rose from his seat and declared: “If Kesavaiah teaches me the lakshanas of Ghana Jaathi, I will learn the nuances and sing!” Kesavaiah, therefore, taught Krishnaiyer and the latter became an expert in the field.
Kabisthalam Ramabhadra Moopanar invited him to his place and offered him all the comforts he demanded, that included daily supply of pure ghee! Moopanar’s men were not only ready with the ghee but stood guard so that nobody disturbed him! When the arangetram took place, guru Kesavaiah was astonished by the proficiency of his disciple and hailed him as ‘Ghanam’ Krishnaiyer.
Gopalakrishna Bharathi had lived variously in Mudikondan, Mayuram and Anathandavapuram. When he was in Anathandavapuram, he interacted with many sangita vidwans showing interest in Kaivalya Navaneetham, Prabhodha Chandrothayam, Thathuvarayar Paaduthurai and Thayumanavar songs. The book has a kriti – ‘Engal gurunatharudaya inaiyadi thozhuvai maname’ – which he composed in praise of his gnana guru Govinda Sivam, in ragam Suruti. He had a close friend Anantha Bharatiyar in Tiruvidaimarudur and both used to exchange views of their respective compositions. His songs for weddings like nalangu, oonjal, laaali and kummi all in praise of Nataraja were very popular among women.
.When Tyagaraja’s disciples were singing ‘Sri Rama Sita Alankara Swarupa’ in Abhogi, in his house, Gopalakrishna Bharati came and introduced himself to the saint. Thyagarajaswami asked Bharati whether he had composed any kriti in Abhogi. Bharati was silent. The next day, Bharati went to Tyagaraja’s house and offered to sing ‘Sabhapathikku Veru Deivam.’
To a surprised Tyagabrahmam, Bharati confessed that he had composed it only the previous night. Similar to the saint’s pancharatna kritis, Bharati also had composed five songs, one of which begins with the pallavi, ‘Harahara Sankarakarunakara’ similar to the kriti ‘Jagadanandakaraka’ in Nattai.
In the chapter on Gopalakrishna Bharathi, U.Ve.Sa. cites an instance where his friend Sivasankara Dikshitar in Chidambaram used to sing songs on Nataraja, with the rudraksha mala around his head and salangai in the ankles. Bharati considered his stay in Chidambaram as dwelling in Siva lokam. Bharati’s song, ‘Parthu Kadan Kodungal’ in Kapi raga is hilarious, as he advised his close friend to be careful while lending. U.Ve.Sa. turns as a cartoonist when he does a pen-portrait of Gopalakrishna Bharathi.
An interesting episode is Gopalakrishna Bharati asking U.Ve.Sa.’s father to send his son for learning music. Lessons begin and U.Ve.Sa. even sings some of the kritis of Ghanam Krishnaiyer. But he makes it clear that he will stop if his teacher Meenakshisundaram Pillai does not like it. Says the scholar, “My goal is to learn Tamil and I am fortunate to be a student of the great Meenakshisundaram Pillai and thus serve Mother Tamil!”
shrI ramya cittAlankAra citta alankAra
Song: shree ramya cittaalankaara srI ramya chitthaalankaara raagam: jayamanOhari 22 kharaharapriyaa janya taaLam: aadi pallavi shrI ramya cittAlankAra svarUpa brOvumu anupallavi mArAri dEvEndra pitAmahA dhyaSTa dikpAla sEvya caraNam surEshAri jIvApahAra vara sOdara dharApa shrI panarAnanda nE nIvalE gAnarA tyAgarAjArcita pada |
Gkb tyagaraja
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