Indian Music and in particular Karnatic music is universally cherished as a consummate art form. Karnatic music has a rich and glorious heritage and stands out nourished and healthy and vibrant. It’s not an archival subject to be looked up to in the archives of a library etc. Its contemporary value and relevance can be assessed – among other factors – like its study being in the curriculum of universities like the Cleveland State University. The annual Karnatic Music Festival held during the Easter Holiday time at this university is also termed as the ‘India Experience at CSU’.
One wonders what exactly constitutes the mystery of the magic in the Indian Karnatic music – its exquisite blend of a scientific system, intangible esthetic music of Bhava, Laya, Mysticism, religious fervor, and lyrics.
Well, among myriads of many unfathomable-contributing factors, the rich musical compositions of great Composers like Saint Thyagaraja, Muthuswmy Dikshidar, Shyama Shastry, Maharaja Swati Tirunal and many others have an amazing impact.
In this essay a humble effort is made to look at with marvel at the amazing splendor of the compositions of Maharaja Swati Tirunal and the Man. Swati Tirunal hails from the Royal Heritage. He is known to the world as the King of a state, Travancore in Kerala. His life can be equated to the life of a “lily” in the words of William Wordsworth. He led a worthy life of not only an able king but also a benevolent king, a patron of art and literature.
Swati Tirunal lived only for a short span of 34 years, i.e., from 1813 to 1847, but he proved the purpose of his incarnation of life through the meritorious contributions towards the state, especially, towards the Indian Music in multi languages. He was a distinguished linguist.
Blessed was his soul, it is rarity to find such wealth, richness clubbed with virtues. Along with his rich and royal heritages; he had imbibed the traditional ritualism and a spiritualism of high order.
In history, Indian Classical Music of the 18th century displayed a Golden Age. The Tamil Nadu gave the great Trinity- saint Tyagaraja, Sri. Muthuswamy Deekshitar and Sri Syama Sastry all at the same time were born and lived at Tiruvarur in Tanjore District.
The state of Travancore did not lag behind. At that time was the birth of Swati Tirunal and a great Hindu philosopher; Adi Sankara Bhagavat Pada was born at the village of Kaladi in Kerala. Adi Sankara rose to the peak in Hindu Advaita philosophy, a religious leader Maharaja Swati Tirunal raised to eminence not only as a King, but also as a versatile composer, musician and a patron of art and literature. As a benevolent ruler he is described as Dakshina Bhoka.
The mystic environment proves our illustrious personality’s emergence. The British regime tried to impose their dictatorial attitude of annexing the intestate property of the heirless royalties in which the kingdom of Jhansi and Satara were annexed. At this juncture the state of Travancore witnessed precarious state, the ruling king had expired, but the Queen had conceived but the child was yet to be born. Even before his birth he was declared a legal heir for the throne. This indicates the greatness of the soul, which had its halo effect even before it was born. The child got educated and developed mastery in various languages, Sanskrit, Tamil, Telugu, Kannada, Marathi, English, Hindi, Persian and Arabic.
Swati Tirunal had his rigorous music education from veteran musicians like Karamana Padmanabha Bhagavathar, Suchindram Harihara Bhagavathar and the family Guru Meru swamy from whom he adopted the Marathi style of singing Abhang, and Dandi. From him he developed the Marathi language skill also.
He developed mastery not only in vocal music but also in playing string instruments - veena, percussion instruments, which made him an adept in playing Rhythm pattern and this was due to Vidwan Harihara Iyer. The association with Tanjore Quartet, the eldest brother Vadivelu made him learn the technique of violin.
He as a king patronized Hindustani vocalists and instrumentalists. His court patronized illustrious artists of all fields. Haridas from Bengal, Sachidanand from Pune, Vasudeva Sastri from Pune, Pandit Narsa from whom he learnt Hindustani Classical singing and developed his knowledge of singing Kheyal, Dhrupad, Tarana, Tappa, Tumri, Bhajans. He also patronized Ustad Allaudin Khan and Ramanujam.
He nurtured classical dancers at his court. Vadivelu and Sivanandam from Tanjore, Ayodhya Sukhdev were employed for Kathak dance. He brought about universality through Fine Arts; blend of all traditional arts. Pitchu Bhagavathar was also patronized for Nattuvangam.
Thus he could bring out beautiful structural edifices in his compositions that suited for semi - classical Hindustani Musical forms, like Kheyal, Thumri, Tappa, Bhajan etc. These musical forms are commonly used in concerts as well as traditional arts, like Bharatanatyam, Mohiniattam and Kathak.
The true devotion to the deity enshrined in Thiruvananthapuram, Shri Padmanabha swamy, the adoration to Classical Music, traditional art; his passionate desire to bring his emotional outpourings, Swathi had tried to bring about the universal integration by bringing music as a medium through his varied linguistic compositions.
We find his versatility in his style rich lyrics, varied compositions and a wide range of musical forms due to which he stands unique not only in the state of Kerala but also in the field of composers of Indian Music.
Having been born in a royal family with illustrious background, Swati Tirunal had every opportunity to acquire his musical knowledge along with training in other branches, right from the childhood. At a fairly early age, he learnt many Indian & foreign languages like Sanskrit, Tamil, Telugu, Kannada, Malayalam, Persian, Arabic, English & Marathi.He produced three literary pieces viz. Bhakti Manjari, Syanandurapura varnana prabhandam, and Padmanabha satakam. In the short span of his illustrious 34 years he had composed more than 200 compositions which included all the varieties like – Swarajati, Varnam- Padavarman and Tana Varnam, Kritis. Padam – Javali and Tillana. His Group Compositions – the Navaratri Kritis – nine compositions in nine ragas which are religiously sung even now in Kerala during the Navaratri festival and the navabhakti Kirtanas based on the nine kinds of Bhakti – Devotion , like Shravanam, Kirtanam, Vandanam, Arcganam, Dasyam, Sakyam, Padasevanam and Athmanivedanam are some of his spectacular worthy contributions. His contributions towards Dance Janre like Jati-Swaram, Padavarnam, Padam, Javali, and Thillana in Malayalam and Manipravalam languages are again popular features in his repertoire.In the next issue the special features of his musical compositions, his contribution to the enrichment of Karnatic music, his literary achievements etc are brought out with stress on his works as versatile composer, lyricist, linguist and musicologist. It’s an interesting study to see him as Swati as a patron of musiciansSwati as a composerSignificant contribution of swati to MusicSwati Tirunal’s contribution in Hindustani Ragas and CompositionsSwati’s contribution to dance musical formsGeneral appraisal of swati’s worksWe could examine in detail about his various types of musical compositions, in different languages, and their distinctive features. Swati Tirunal gave up his checkered life in 1847. It is astonishing to see his achievements within the short span of 34 years. Considering his contributions to enrich the Karnatic music in different languages, styles and structures, we can safely place him on equal status with the musical Trinity of Karnataka Music. Tiger Varadachariar said that of Swati Tirunal “The Royal Composer combines in his style the elegance of Thyagaraja with the grandear of Muthuswamy Dikshither”. J.A. Brown has recorded “the Maharaja has acquired fame all over India because of his interest in education, his cultured mind and his ability to compose songs and also because of proficiency in several languages”. As Bhartrihari says ‘poets who are the fountains of rasa have neither obsolescence nor death” Truly, Swati Tirunal’s, name will live as long as music lives.
One wonders what exactly constitutes the mystery of the magic in the Indian Karnatic music – its exquisite blend of a scientific system, intangible esthetic music of Bhava, Laya, Mysticism, religious fervor, and lyrics.
Well, among myriads of many unfathomable-contributing factors, the rich musical compositions of great Composers like Saint Thyagaraja, Muthuswmy Dikshidar, Shyama Shastry, Maharaja Swati Tirunal and many others have an amazing impact.
In this essay a humble effort is made to look at with marvel at the amazing splendor of the compositions of Maharaja Swati Tirunal and the Man. Swati Tirunal hails from the Royal Heritage. He is known to the world as the King of a state, Travancore in Kerala. His life can be equated to the life of a “lily” in the words of William Wordsworth. He led a worthy life of not only an able king but also a benevolent king, a patron of art and literature.
Swati Tirunal lived only for a short span of 34 years, i.e., from 1813 to 1847, but he proved the purpose of his incarnation of life through the meritorious contributions towards the state, especially, towards the Indian Music in multi languages. He was a distinguished linguist.
Blessed was his soul, it is rarity to find such wealth, richness clubbed with virtues. Along with his rich and royal heritages; he had imbibed the traditional ritualism and a spiritualism of high order.
In history, Indian Classical Music of the 18th century displayed a Golden Age. The Tamil Nadu gave the great Trinity- saint Tyagaraja, Sri. Muthuswamy Deekshitar and Sri Syama Sastry all at the same time were born and lived at Tiruvarur in Tanjore District.
The state of Travancore did not lag behind. At that time was the birth of Swati Tirunal and a great Hindu philosopher; Adi Sankara Bhagavat Pada was born at the village of Kaladi in Kerala. Adi Sankara rose to the peak in Hindu Advaita philosophy, a religious leader Maharaja Swati Tirunal raised to eminence not only as a King, but also as a versatile composer, musician and a patron of art and literature. As a benevolent ruler he is described as Dakshina Bhoka.
The mystic environment proves our illustrious personality’s emergence. The British regime tried to impose their dictatorial attitude of annexing the intestate property of the heirless royalties in which the kingdom of Jhansi and Satara were annexed. At this juncture the state of Travancore witnessed precarious state, the ruling king had expired, but the Queen had conceived but the child was yet to be born. Even before his birth he was declared a legal heir for the throne. This indicates the greatness of the soul, which had its halo effect even before it was born. The child got educated and developed mastery in various languages, Sanskrit, Tamil, Telugu, Kannada, Marathi, English, Hindi, Persian and Arabic.
Swati Tirunal had his rigorous music education from veteran musicians like Karamana Padmanabha Bhagavathar, Suchindram Harihara Bhagavathar and the family Guru Meru swamy from whom he adopted the Marathi style of singing Abhang, and Dandi. From him he developed the Marathi language skill also.
He developed mastery not only in vocal music but also in playing string instruments - veena, percussion instruments, which made him an adept in playing Rhythm pattern and this was due to Vidwan Harihara Iyer. The association with Tanjore Quartet, the eldest brother Vadivelu made him learn the technique of violin.
He as a king patronized Hindustani vocalists and instrumentalists. His court patronized illustrious artists of all fields. Haridas from Bengal, Sachidanand from Pune, Vasudeva Sastri from Pune, Pandit Narsa from whom he learnt Hindustani Classical singing and developed his knowledge of singing Kheyal, Dhrupad, Tarana, Tappa, Tumri, Bhajans. He also patronized Ustad Allaudin Khan and Ramanujam.
He nurtured classical dancers at his court. Vadivelu and Sivanandam from Tanjore, Ayodhya Sukhdev were employed for Kathak dance. He brought about universality through Fine Arts; blend of all traditional arts. Pitchu Bhagavathar was also patronized for Nattuvangam.
Thus he could bring out beautiful structural edifices in his compositions that suited for semi - classical Hindustani Musical forms, like Kheyal, Thumri, Tappa, Bhajan etc. These musical forms are commonly used in concerts as well as traditional arts, like Bharatanatyam, Mohiniattam and Kathak.
The true devotion to the deity enshrined in Thiruvananthapuram, Shri Padmanabha swamy, the adoration to Classical Music, traditional art; his passionate desire to bring his emotional outpourings, Swathi had tried to bring about the universal integration by bringing music as a medium through his varied linguistic compositions.
We find his versatility in his style rich lyrics, varied compositions and a wide range of musical forms due to which he stands unique not only in the state of Kerala but also in the field of composers of Indian Music.
Having been born in a royal family with illustrious background, Swati Tirunal had every opportunity to acquire his musical knowledge along with training in other branches, right from the childhood. At a fairly early age, he learnt many Indian & foreign languages like Sanskrit, Tamil, Telugu, Kannada, Malayalam, Persian, Arabic, English & Marathi.He produced three literary pieces viz. Bhakti Manjari, Syanandurapura varnana prabhandam, and Padmanabha satakam. In the short span of his illustrious 34 years he had composed more than 200 compositions which included all the varieties like – Swarajati, Varnam- Padavarman and Tana Varnam, Kritis. Padam – Javali and Tillana. His Group Compositions – the Navaratri Kritis – nine compositions in nine ragas which are religiously sung even now in Kerala during the Navaratri festival and the navabhakti Kirtanas based on the nine kinds of Bhakti – Devotion , like Shravanam, Kirtanam, Vandanam, Arcganam, Dasyam, Sakyam, Padasevanam and Athmanivedanam are some of his spectacular worthy contributions. His contributions towards Dance Janre like Jati-Swaram, Padavarnam, Padam, Javali, and Thillana in Malayalam and Manipravalam languages are again popular features in his repertoire.In the next issue the special features of his musical compositions, his contribution to the enrichment of Karnatic music, his literary achievements etc are brought out with stress on his works as versatile composer, lyricist, linguist and musicologist. It’s an interesting study to see him as Swati as a patron of musiciansSwati as a composerSignificant contribution of swati to MusicSwati Tirunal’s contribution in Hindustani Ragas and CompositionsSwati’s contribution to dance musical formsGeneral appraisal of swati’s worksWe could examine in detail about his various types of musical compositions, in different languages, and their distinctive features. Swati Tirunal gave up his checkered life in 1847. It is astonishing to see his achievements within the short span of 34 years. Considering his contributions to enrich the Karnatic music in different languages, styles and structures, we can safely place him on equal status with the musical Trinity of Karnataka Music. Tiger Varadachariar said that of Swati Tirunal “The Royal Composer combines in his style the elegance of Thyagaraja with the grandear of Muthuswamy Dikshither”. J.A. Brown has recorded “the Maharaja has acquired fame all over India because of his interest in education, his cultured mind and his ability to compose songs and also because of proficiency in several languages”. As Bhartrihari says ‘poets who are the fountains of rasa have neither obsolescence nor death” Truly, Swati Tirunal’s, name will live as long as music lives.
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