It is my
proud privilege to offer homage to the memory of Maharaja Sree Swati Tirunal.
He was a versatile genius, combining in him the qualities of a
capable ruler and administrator with those of a brilliant musician, musicologist,
composer, poet and linguist. He
spoke the four languages of the South and was fluent in others like Sanskrit,
Hindi and Marathi.
It is a pity that we do not have any tradition of singing the compositions of this master in their original tunes. But Pandit S.N. Ratanjankar bridged the gap to some extent by composing and noting down tunes for the Maharaja’s Hindi lyrics in the ragas indicated by him. Another musician who has attempted similar work on the Maharaja’s lyrics is Jitendra Abhishekhi and provided us with six magnificently conceived melodies.
Sree Swati Tirunal was a man of extraordinary foresight- a fact that is
brought home to us by him appreciation of Hindi as a link language for
the emotional integration of India. His
own command over Hindi becomes evident from the high standard of his poetry.
Well versed in Indian aesthetics (rasa, bhava, alankar etc.), and liberal in his outlook, this devotee of Padmanabha (Vishnu) did not hesitate to write exquisite songs in praise of other deities like Mahadeva, Ganesh, Saraswati, Lakshmi and so on.
a) requesting our best musicians to sing them and permit recordings of their recitals
b) making these recordings, along with the notations of the tunes, available to music institutions, schools, colleges and universities
c) arranging competitions for the rendering of the compositions by people of different age groups
d) encouraging choral rendering of the compositions with a view to making more and more people share in the legacy of the Maharaja.
36 Hindi lyrics written by the Maharaja delue into the mythology, religion
and culture of the country:
1. Karunanidhan: The song is about Lord Krishna and his flute. It is in Hamir Kalyan, set to Chartal in Dhrupad style.
2. Ramachandra Prabhu: The song describes the plea of a devotee of Lord Rama who places his entire trust in the grace and kindness of the god. It is in Bhairavi, set to Kaharwa Tal.
3. Vishweshawar: The song is about Lord Mahadeva and the beauty of his city, Kashi. It is in Dhanashri, set to Chartal in Dhrupad style.
4. Sumaran Kar Jadunath: The song invoke all the incarnations of the Lord for by taking his name the sins of every mortal are washed away. It is in Adana, set to Trital or alternatively in Bhairavi, set to Kaharwa Tal.
5. Bajat Shri: The song describes the dance of Lord Rama along with sita and Lakshman to Ayodhya. It is in Gouri, set to Trital.
6. Shankar Shri: The song describes the dance of Lord Shiva and his mates. It is in Gauri, set to Trital.
7. Bajat Murli: The song describes the celestial music of Lord Krishna’s flute. It is in Charchari (Bhairavi) Bilandi set to Ektal.
8. Jai Jai Devi: The song is in praise of the goddess Saraswati, patron of art and literature. It is set to Trital in Yaman kalyan or alternatively in Sindhu Bhairavi.
9. Krishna Chandra Radha: The song is a plea to Lord Krishna to make the mind of the singer his abode. It is in Bhairavi set to Kaharwa Tal.
10. Suno Sakhi: The song describes the pangs of separation suffered by the beloved from her lover. It is in Bihag, set to Trital.
11. Udho Suniyo: the song describes the pitiable condition of the inhabitants of Braj after the departure of Lord Krishna. It is in Poorvi, set to Chartal or alternatively in Sohni, set to Roopak Tal.
12. Aaj Aye Shyam: The song describes the Raas which lord Krishna used to perform with the Gopis. It is in Yaman Kalyan set to Chartal.
13. Aye Giridhar: The song describes the looks of Lord Krishna when he comes home after spending the night with another lady. It is in Bhairavi, set to Trital.
14. Gori mat Maro: The song requests the lady not to kill with the arrows of her eyes. It is in Jhinjhoti, set to Panjabital in the Tappa style.
15. Aan Milo Mehbood: The song beseeches the beloved to come back. It is in Bhairavi, set to Trital.
16. Bansi Wale Ne: The song is about Lord Krishna and his flute. It is in Bhairavi, set to Trital.
17. Nache Raghunath: This song describes the dance by Lord Rama. It is in Dhanyasi (Bhairavi scale) set to Chartal.
18. Bhaili Piya: The song is a request to the beloved for a meeting in the moonlight. It is in Sorath, set to Trital.
19. Miliye Shyam: The song depicts the anguish of Radha when she is separated from Lord Krishna. It is in Khammach, set to Trital.
20. Ghafil Bhoilo: The song describes the plight of one falling in love. It is in Jhinjhoti, set to Trital.
21. Kanh Kab Sakhi: The song depicts the meeting of the lover with the beloved in a dream. It is in Bihag, set to Trital.
22. Javo Man: The song is a prayer to the beloved not to depart to another land as the lover is anxious to please him in every way. It is in Kafi, set to Trital.
23. Ab to Bairagin: The song describes how the beloved has become destitute after the departure of her lover. It is in Khammach, set to Punjabi Tal in Tappa Style.
24. Chaliye Kunjan: The song requests Lord Krishna to a meeting on the banks of the Jamuna. It is in Sarang, set to Chartal.
25. Avadh Sukhdayi: The song calls to mind the gay atmosphere at the coronation of Lord Rama. It is set to Trital in Kafi or alternatively, Bhairavi.
26. Sanvare Teri murali: The song is about Lord Krishna and his flute. It is in Paraj, set to Chartal.
27. Main to nahin Jaaoon: The song depicts Lord Krishna refusing to go to the banks of the Jamuna because the gopis have teased him. It is in Bihag, set to Trital.
28. Aali Main to: The song is about a meeting with Lord Krishna on the banks of the Jamuna. It is in Poorvi, set to Ektal.
29. Devan Ke Pati Indra: the song praises Indra as the god of gods. It is in Darbarikanhra, set to Chartal, Dhrupad style.
30. Sis Gang: The song is about Lord Shankara. It is in Dhanashri, set to Chartal in Dhrupad style.
31. Nand Nandan: The song is about Lord Krishna. It is in Dhanasri set to Chartal or alternatively Khammach set to Dadra.
32. Braj ki Chhavi: The gopis complain about the loss of gaiety in Braj after the departure of Lord Krishna. It is in Bihag, set to Chartal.
33. Jamuna Kinare: The song describes Lord Krishna playing his flute on the banks of the Jamuna. It is in Multani Dhanashri set to Chartal.
34. Mahipal Pyare: This song describes the influence of Lord Krishna’s flute in the entire world. It is in Poorvi, set to Chartal.
35. Sohni Swaroop: This song describes the beauty of Lord Krishna. The words have a dual meaning, describing the beauty of Krishna and enunciating the names of the ragas in the Ragmala, Sohni, Nat, Vibhas, Shri, Malhar, Yaman, Kanhra, Saang, Gurjari, Hindol, Adana, Gaud and Shyam.
36. Aaj Uninde: The song speaks of Lord Krishna’s return home after spending a night with another women. It is in vibhas, set to Chartai.
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