TRAVANCOREAN MUSIC AND MUSICIANS
[This famous article my scholar-composer T. Lakshmanan Pillai has been provided
by Dr. K. Omanakutty. The document was not in a very readable form in a few
sentences and one page is missing. Any reader in possession of a complete
copy is welcome to help us in this matter. This article was published in early
past of the 20th Century.]
Greatness
of Music |
Hindu
Music |
Dravidian
Music |
Swathi
Thirunal |
Sopanam
|
Irayimman
Thampi & others |
Govindan
Marar |
Vadivelu |
Meruswami
& others |
Ayillyam
Thirunal |
[Greatmen of Music]
WHAT is the charm
applied to the fretting child? What is the power that fascinates the grim
cobra, and causes it to dance before the snake-charmer? What is the language
in which the sprightly bird, forlorn on the sighting bough, communicates its
charming love to its mate in the opposite bough? It is music. Music is part
of the charm of the ocean and of the grandeur of the thunderclap. It soothes
the man whose soul is eaten by cares and anxieties, and whose energies have
been exhausted by labour or pain. It is delightfully combined in the thoughts
of that sacred love which a loving and devoted wife bears to her husband,
and helps to sustain a reciprocal love towards her in him. It is the medium
whereby the starving beggar often enlists the sympathy of many a stone-hearted
donor. It is the soul which animates the other wise lifeless verses which
a saint or devotee addresses to the divine Dispenser of good. It is an enchantment
even for beauty, beauty which “doth plead without an orator”.
It is the balsam which soothes the arduous workman’s spirit on cool
evenings, when his nerves have been shattered by the day’s labour. The
rower, the ploughman, the bandyman, the carrier, the dhollyman, the shepherd,
all fly to this mother of charms equally for stimulation as for the relief
of the monotony of their labour. It allays even actual physical pain, and
we have known of men who have in their dying moments called for music rather
than water or milk, as if their thirst for former were not to die with their
bodies, but to survive that event in order to make their journey all the pleasanter
to the bourne “whence no traveller returns”.
Thus, it will be seen that music is part of the regular organisation of God’s
world, with a distinct mission to fulfill. It is not merely a light recreation
fit for weak women and weaker men, to be taken up when they have nothing better
do, and to be condemned and laid aside in their serious moments. For music
has a sacred purpose connected with the regeneration of the human heart, which
plays an important part in almost all our dealings in the world. Music according
to Herbert Spencer “is the idealized language of the feelings, the natural
language of the emotions.” According to him, “it is the result
of a long course of evolution.” That is, of course, an objective view
of the question, music, as it were, anatomized. The theory does not propose
to deal with music from the subjective point view, a failing common to many
materialistic thinkers. It does not seem to explain satisfactorily the innate
connection between the various combinations of harmonious sounds and the corresponding
phase of happiness they awaken, for happiness there is in some measure even
in the saddest strains “The sweetest songs” are even in music
“those that tell of the saddest thought or feeling. The theory does
not trace deeply to reason why a particular tune or Raga should raise a particular
emotion in the mind and not an other and why it should similarly affect a
mixed audience of different tastes and susceptibilities. The connection of
sound and happiness appears to be the most important factor that needs solution
and that mysteriously defies solution in the philosophy of music. A particular
combination of sounds in the ascending and descending order represents in
Hindu music a Raga, or the nucleus of a Raga, and stands for a particular
and unmistakable phase of feeling, the relationship between the two being
innate and by no means created by any effort or conscious volition on the
part of the listener. “The natural language of the feelings,”
a significant expression indeed! We should think here is an unconscious admission
that the connection we were in quest of is to be found in nature and not to
be artificially induced by man through whatever stages of evolution he might
have passed. Sound and happiness must be blended into one somewhere in the
heart of nature. To speak a little metaphysically, as our souls are parts
of the Universal soul, and as in that soul sound and beatitude may be combined,
we who live estranged from that soul, shut up in individual organisms and
forgetful of our inward unity, seem to get even during this estrangement through
the divine magic of music, glimpses of that happiness in which we had our
being, while we were one with that soul. To adapt a simile from Spencer himself,
the white light of happiness, when passing through the crystal of the mind,
is radiated into the rainbow phases of happiness which the combinations called
Ragas awaken. We are in a foreign land, and music comes home to us, or rather,
for a time, takes us home.
Music is thus, in a very good sense of the word, a divine art. Spencer again
calls it “the finest of the fine arts,” the most effective agent
concerned in promoting sympathy between man and man. Well indeed may music
be said to promote sympathy, for by raising kindred emotions in the human
breast, it points to that unity whence we have all come and to which we must
all return. It clears up, so to speak, the natural brotherhood of man, a relationship
which lies deeply buried beneath his conventions, his prejudices and antipathies,
his superficial and artificial differences, his joys and sorrow and his dark
impenetrable ignorance. This must be the scene of that sympathy to promote
which, Spencer says, is the chief function of music.
But we must not confine ourselves to Spencer alone. One at least, greater
than he, has in the following oft- quoted lines: -
“He that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratgems and spoils;
The motions of his heart are dull as night
And his affections dark as Erebus;
Let no such man be trusted.”
borne testimony to the fact that music is the best test of the goodness of
a man’s heart. We can sound the power of affection or the reverse of
a man by music, and if he cannot be classed with one of the two species referred
to by Shakespeare, we may but him down for a man with whom we must take good
care before dealing. What a treasure has Shakespeare laid bare within the
compass of these remarkably pregnant words! Here is the sum total of the philosophy
of music, the nucleus of truth round which a great number of lesser truths
and observations may rally. Yet, the verdict of Shakespeare seems hard and
allows no room for redemption. The case perhaps is not so hopeless as we might
imagine. For every man carries within him musical instincts which, though
dormant generally, may yet be nurtured and developed by care and training
like embers fanned into a flame. No man is totally dead to its inherent effects.
As music is the best test, so is it also the best purifier of a man’s
heart. The reason is not far to seek. That agent which promotes sympathy must
of necessity, when frequently resorted to, induce a habit of looking upon
our fellowmen as brothers and participating in their joys and sorrows. It
creates, in fact, a tenderness of heart which becomes the motor to move the
will to sympathetic action, when we see a fellow being suffer. It thus unconsciously
affects the heart. It can therefore be said to be an active agent shooting
our crime from the heart of man, purifying him of the obnoxious weeds of feeling
and developing in him the noblest of himself.
[Hindu Music]
Coming to Hindu
music, we hope to be pardoned for adverting to the scant appreciation given
to it by some Europeans, who evidently have little opportunities or care to
listen to performers of acknowledged merit. A European traveller in Cashmere
who wrote about Hindu music and who apparently only heard much of street and
little of indoor music, expressed his opinion that the Hindus held that the
best musician was one who made the loudest noise. The remark may pass as jest
in conversation unnoticed, but in a book will most likely be challenged by
sober observers. Professor Max Muller observes, “We must not neglect
to make full allowance for that very important intellectual parallax which
renders it most difficult for Western observer to see things and thoughts
under exactly the one angle and in the same light as they would appear to
an eye. A symphony of Beethoven’s would be mere noise an Indian car
and Indian Sangita seems to us without melody, harmony or rhythm.” This
feeling of illiberality in appreciation seems to be cordially reciprocated
by some Hindus in respect of European music. They believe that all deviations
from the fixed scales of the Ragas with which they are familiar must necessarily
be discordant, and cannot realise that some disgressious enhance the pleasure
of the main tunes a pieces. This feeling of mutual dislike which some have
shown towards music not their own, it is perhaps correct to distribute to
lack of training or habitual inattention to the complete effects of a piece.
One man’s meat is another man’s prison. Want of sympathy and the
spirit of patient research become cases and differences of ideals in other
seem to be the forerunners to the dislike shown in this as in the case of
in social customs and uses. The European stands as much astonished at the
existence of innumerable divisions among men of the same section or caste
of the Hindus, as the other at the spectacle of an artisan aussing with a
gentleman. Hindu is surprised how the European can woo and choose his own
wife, while his Western brother is equally surprised in the Hindu is fond
to leave the choice of his life’s personal companion to the father or
grandfather, or worse, to an other stranger, to anybody but the man most concerned,
that is himself. Some dislikes are of course well found whilst other are arbitrary.
Similar instances may be multiple but it is enough to say that want of consideration
for the circumstances of condition and breadth of view is in some cases at
the bottom of petty dislike and prejudices which will clear like mists when
the sun of knowledge shines upon them. We will not think and cannot therefore
enter heartily into feelings and conditions of men different from those of
their own nationality. Greater familiarity with each other’s form of
music is the bost antidote to these prejudices and disrespect of European
and Hindu music. On the other hand, it is refreshing to know that some Europeans
have ever come these prejudices, but are in the fair way to appearance. Hindu
music as much as the Hindus themselves, and the Hindu musicians, including
the great Tiagayya himself to have not only appreciated European music, but
have incorporated into their compositions style peculiar to it. He Indeed,
who would say that Tiagayya, the composer of the following Kirtanams, did
not appreciate European music:
Nagumo in Raga Aberi
Sarasara in Raga Kuntalavarali
Hindu music, as indeed every other art in India have a religious aspect and
is said to have originated from the saints who composed and chanted Vedic
hymns in pre-historic times. All honor to the Rishis, the Hindu Druids of
old from whom have proceeded not only much that is edifying and elegant in
Hindu Philosophy, but also much that is beautiful and refreshing in Hindu
art. All systems of music are, according to Spencer, growths, the results
of long ages of slow evolution. Granting the truth of this on the objective
side, the case of Hindu music, as far as it is known, forms no exception for
the general rule, though the perception may not be conceded by those who ascribe
divine origin to everything that is handed down from the ancient seers. The
system of Hindu music could not have been developed and brought to and perfection
in a day or by the exertion of a single individual like Nandikesa, Tumburu,
Bharata, Narada, Kasyapa and a host of others seem to have severally contributed
their rills to this mighty river. There were several systems of music first
Arka based upon a single note, the Gathika upon two notes and the Samiga upon
three and the Suarantara upon four. The chanting of the Vedas at the present
day would show that range of that solemn music is limited to two or three
notes. These three were regarded as the main notes, connection between them
and the seven notes of later development was pointed out by Panini in his
Vyakarana Suthras thus: -
Udatha includes Ni and Ga, Anudatha Re and Dha, and Garitha Sa, Ma and Pa
of the Hindu Gamut. These sum up the seven notes-Sa, Ri, Ga, Ma, Pa, Dha,
Ni. The Shadga or Sa is taken as the unit, and its name implies that the six
notes grow out of it, and are in fact higher pitches, fixed in certain equal
proportions. Madhyama represents the middle distance between the two extremes
of the gamut. Thus the three original notes were practically the some in the
seven notes of later development. All the steps in the evolution of Hindu
Music, prior to the development of the modern or Druvapada system of Music,
what is called the Margai system, according to the classification of Sanskrit
authors.
What are known as Sruthi are supposed to result by progressing of the breath
through the 22 Nadis or chords. These Sruties form the network of the Swaras
or notes, which are produced by a number of them acting congenially and in
geometrical progression. The Swaras or notes are, as already stated, are seven
numbers, the same as in the European system. It was later on necessary to
add 12 flat and sharp notes, known by the name of Vikriti Swaras or modified
notes. In their relation, the notes are supposed to exhibit four aspects Vivadi,
Samvadi and Anuvadi. These play important role in the evolution of the Ragas
from the 72 Melakartas modes. Swaras are supposed to have their presiding
deities and are said to represent the various emotions of mind thus:-Sa and
Ri stand for valour and surprise, Dha, revulsion and fear, Ga, and Ni, compassion,
Ma and Pa, joy.
The existence of a well ordered system of Ragas is the greatest peculiarity
in Hindu Music. Raga literally means passion, and each Raga stands for a distinctive
phase of passion. In elaborating a Raga, the combinations may be varied as
in a Kaleidoscope, according to the mental fertility of the singer, but the
general character of the Raga will remain, unique and unmistakable. All the
permutations a combinations are performed on the basis of the notes of which
the Raga is primarily composed, and any deviation are looked upon as discordant,
and are scrupulously gaurded against. Ragas like the Todi or Bairavi represents
majesty and impresses one like the stalking of a stately king, decked in all
his regal glory, and parading with the pomp and circumstances of his lofty
position, a grand and sublime spectacle. One like the Asaveri or Punnagavarali
comes melancholy, like on pleading the cause of a sovereign unjustly deposed
from the throne of power. One like the Girvani or Vasanta look serene and
subdued, like a sage sitting in a lonely forest mountain, and calmly contemplating
the beauty of the universe. One like the Mohana or Poorvakalyani appears like
a coy maiden hiding her love, as a rose does its blooming petals beneath its
bower of green, but withal conscious of her beauty and attractiveness. One
like the Useni or Nagavarali comes fascinating in its sadness, like a maiden
estranged from her lover, or spurned by him, cursing the woeful hour which
parted her form his lovely company or eloquently pleading the justice of her
cause. One like the Vegadai comes arguing and resenting, and remonstrating.
One like the Nathanamakriya, calm and thoughtful, appears like Socrates or
Plato preaching the sublime truths of philosophy to his disciples and proving
that all beneath the sun is hollowness and vain glory. One likes the Neelambari
or Yadukula kambodhi comes submissive and imploring, melting into screams
of tender presence of the god whom he adores. Thus, each Raga comes and goes,
with its store of smiles or tears, passion or pathos its noble and lofty impulses,
and leaves its mark on the susceptible mind.
[Dravidian Music]
There are two
styles of Aryan music sung in South India commonly known by the name of the
Karnatic and the Desik, the former representing the primitive, unvarying and
simple method that is scrupulously governed by the rules laid down in the
science of music, and the latter representing the refined and elaborate method
that is subject to changes according to local conditions. The former is stationary
and the latter progressive, exhibiting greater play of intelligence. Travancore
music is mainly Karnatic in style. The Aryan system of music is not the only
one followed here. The Dravidian system is also preserved in its pristine
purity much better than in other parts of South India. Witness the tunes known
by the name of Indisa, Indalam, Puranira and Kanakkurinchi, having correspondings
in Tamil music. Perhaps, Travancore is one of the very few states in which
Aryan and Dravidian music flourish side by side. The names of some of the
musical instruments used would also point to the above conclusion: - Udukku,
Edakka, Thimizh etc. The Dravidian music (also known by the name Sopana, from
Sopanam, meaning steps, so called because the music is sung near the steps
in front of the Srikoil or Inner temple), is simple, sweet, perhaps more languid,
yet more pathetic and tender than the Aryan, and more sung in country parts
than in towns. They are chiefly resorted to in performances like Kathakali
and also in reciting popular devotional and religious compositions. There
can be no doubt that Dravidian music or Sopana is the most ancient among the
systems of music in vague in Travancore.
Before closing our general remarks about Hindu music, it may be useful to
refer to a few points of comparison between the Hindustani the European systems
of music. The two systems have compared by Sri. T. Muthuswamy Iyer in the
following manner: -
“The dominant factor in the Hindu system is melody and that in the European
system is harmony. Harmony arises from the agreeable concord of simultaneous
notes, whereas melody is produced under the Hindu system by the combination
of successive notes in the relation of harmony. To borrow from
Mr. T. T. Thompson, melody is retrospective harmony or depends on the perception
of a harmonious difference between successive notes artistically arranged.
The mechanism of the human are is such that the first note which one hears
lingers for some time in the ear and blends readily with successive notes
in the harmonious relation. So as to create pleasure”. Another peculiarity
in Hindu music is the existence of graces (ares or curves of sound), produced
by the fusion of two or more notes. These are called Gamakas, and ten different
kinds of them find mention in works on Hindu music. The beauty of these graces
or glides is much appreciated by every praised ear, and they enter largely
into compositions of a high order and also used by expert musicians in profusion.
These Gamakas cannot be produced in certain instruments such as the Piano
or the Harmonium, and so far the characteristic beauty of Hindu music cannot
be correctly reproduced in them. Curves are said to be a lately developed
feature in European music.
With these observations about music in general, and Hindu and Travancore music
in particular, we shall now give a short account of the various musicians
and composers that have shed a luster on this land and have contributed to
glorify its name as a nursery of the fine arts. Music, it will be remembered,
is not the only art, which has found a home in Travancore. Poetry including
philosophy, Painting, Carving, Drama in the form of Kathakali and ard eloquence
in the form of narration or Chakiarkoothu has severely found some of their
best exponents in this ancient land. Truly, it may be said with Gray,
“Some mute inglorious Milton here by rest,
Some Crumble guitless of his country’s blood”
Some of the best artists in these departments have won for themselves a very
wide reputation. Who has not known the name of His Holiness Sri Sankarachariar
whose birthplace it is the proud boast of Travancore to possess, identified
by recent investigations with “Kaladi” in the Taluk of Kunnathunad,
and what greater representative of philosophy can India show? For poetry,
it is sufficient to allude to the renowned names of Kunjan Nambiar in Malayalam,
and Kerala Varma Valia Koil Tampuran in Sanskrit. In the department of painting,
we may call to mind the name of the lamented Ravi Varma whose fame is not
confined to Travancore or even to India, but has extended throughout the civilised
world. In carving particularly, ivory carving, we would not be wrong in saying
that Travancore has succeeded in producing an impression on the outer world.
Ezhumana Namburi, the father of the artist, was well known for his proficiency
in this art. The drama, as has already been stated, has flourished in the
shape of Kathakali for a long time in Travancore, and the art was patronised
by some of its sovereigns particularly by His Highness Martanda Varma Maharajah,
who died in 1036 M. E., and also by His Highness the illustrious Visakham
Tirunal Maharaja. As for Chakiarkoothu, who has not heard of the name of the
great Narayanan Chakiar, the most finished artists in that interesting field?
Truly, Travancore may well be compared, on a smaller scale, of course, with
Italy in more respects than one. The comparison was instituted by that veteran
scholar Mr. Grant Duff, Governor of Madras, in respect of the richness, variety
and picturesqueness of its natural scenery. It is also worth nothing that
a country which is noted for the beauty of its physical features is likely
to develop in its inhabitant susceptibility to the fine arts through a perception
of the beautiful in nature.
[Swathi Thirunal]
Turning to our
narrative about Travancorean musicians, we have to traverse a region which,
if not unexplored, is yet un-recorded. Our narrative begins pretty precisely
from the year 1800 A.D. I dare not say that there were no musicians or composers
prior to 1800. Prince Aswati Tirunal (1756-1788), an accomplished Sanskrit
scholar, has composed several Kirtanams (hymns) which are even now daily sung
in Sri Padmanbha’s pagoda. We may say that modern Travancorean music
perhaps begins with him, and we are not aware of any earlier musical compositions
now extant. The Ashtapadis composed by Jayadevar were also sung in Travancore
and formed the stock music of the celebrated Govinda Marar. That was not,
however, Travancorean music. History has not sufficiently dispelled the darkness
which has settled upon the previous centuries to enable the history of music
being traced further back with clearness. Our narrative is based chiefly on
the testimony of live persons and upon anecdotes that traditions has handed
down, checked, as far as possible, by the accounts given by elderly men, some
of whom were eye-witnesses of the incidents described. Our staring point,
then, is the year 1800, a year which marked the commencement of a new era
in Travancore history. The eighteenth century was noted for the achievements
of adventurous spirits like Dalava Rama Iyer and Raja KesvaDas, and was the
period in which Travancore merged from the condition of a land divided into
petty principalities in mutual conflict with one another into a compact, united
and comparatively peaceful whole, under the suzerainty of one ruler. The close
of that century was marked by a general feeling of unsettledness and quaking
fear of the country being subjected to the devanstations of the Tiger of Mysore,
Tippu Sultan. The year 1800 put an and to all fear and anxiety on that score,
as it witnessed the fall of Seringapatam, a year which was the threshold of
the coming epoch of peace. An unbroken era of peace was to follow a pervious
most favorable for the leisurely development of the fine arts, particularly
music.
Accordingly we find that H. H. Ranee Rukhmini Bayi (1800-1837), the sister
of the great composer H. H. Swati Tirunal Maharajah and grandmother of His
Gracious Highness the present Maharajah on the mother’s side, herself
among the first of sound the note of peace in her compositions. Though not
many, the compositions are characterized by a charming simplicity, directness
and depth of feeling. The song beginning with “Srikantesa Pahi”
in Mukari Raga, containing a prayer for the gift of a sister, is a good specimen.
His Highness Swati Tirunal Maharajah, the Royal composer and poet of Travancore,
forms the central figure among the musicians and composers of whom we shall
have to speak. Around him, we shall see a number of satellites of musical
fame shone with more or less brilliancy. His Highness reigned between 1830
and 1847. Early in life, His Highness received a sound education and mastered
about twelve languages including English. His compositions range over five
or six languages, Sanskrit, Tamil, Telugu, Malayalam, Hindustani and Mahratti.
It is not necessary here to enumerate His Highness’ compositions in
full, which consisted of all varieties such as Kirtanams, Varnams, Padams
and Tillanas. But we may give some representative specimens and thus try to
create real and interest in such of the readers as are not familiar with them
to study the compositions at leisure.
W begins with a Krithanam in Kamas Raga. A Kirtanam is a simple composition
consisting of a Pallavi burden, an Anupallavi or auxiliary to the burden,
and one or more Charnams, a Charnam being generally equal in metrical extent
and in Tala or time to the Pallavi and Anupallavi put together. Kirtanams
are mostly intended for devotional subjects. They are made to all Talas except
Ata Tala. Kritanams have to be distinguished from Krities in that the latter,
though composed of the same parts, have only one charanam and hence are simpler.
The song in Kamas Raga beginning with ‘Sarasasama mukha’ is popular
not only in Travancore, but also beyond the Ghauts. This, however, is not
His Highness’ ablest production and, as it happens to some poets, the
ablest pieces are not always the most popular.
Before introducing our next illustration, we shall explain the nature of what
are called Varnams. Varnams are longer compositions than Krities or keerthanams
though composed of the same fundamental parts. Unlike these compositions,
Varnams are invariably accompanied by Swaras or symbols of musical notes and
exhibit the various phases of the Raga in great detail. Varnams are generally
made to Ata Tala, Rupaka Tala, Adi Tala and Jamba Tala. They are adapted also
for dancing. Our illustration is a Varnam in Kapi Raga which for grandeur,
grace, and fortility of imagination stands unrivalled in the whole range of
Hindu music. It begins with the words ‘Sumasayaka’. It is understood
to be the conjoint production of his Highness and Vadivelu, the latter having
composed the air, the former supplying the words. The Anupalavi looks as grand
as it would strike one when entering the great hall of Vatican in Rome. The
strain is a monument of Vadivelu’s genius.
The following is a Ragamalika or a garland of eight Ragas, each part being
wound up with an appendage of Swaras is the Raga in which that part is composed
and the while closed with a miscellany of Swaras exhibiting all the eight
Ragas in succession: Pannagendra-Sankarabharanam Raga.
There is another garland known by the name of Navaratn Malika composed of
the following nine Kirtanams in the Ragas Bhairavi, Neelambari, Mukari, Todi,
Vegada, Nathanama kriya, Balahari, Ahiri and Kedaragowla. Each Kirtanam is
complete by itself. His Highness has also composed two other Ragamalikas consisting
of four and ten tunes respectively.
We shall now proceed to His Highness’ Varnama, though one has already
been afraid to. Some of them are very popular in South India. One beginning
with ‘Salamyala’, in Sankarabharanam is a good specimen. There
are also varnams in Todi, Bairavi, Kaliani, Gambodhi, Neelambari, Atana and
several other Ragas.
His Highness has also composed many Malayalam and Sankrit Padams. Padams are
compositions allied to Kirtanams and are mostly devoted to the subject of
love, though some have a religious significance too. They differ from Kritanams
and Kritis in that they do not present any variations in the Pallavi. In Kirtanams
and Kritis of high order, the Pallavi and sometimes the Anupallavi and Charanam
are arrayed in variation ranging with the fertility of the composer’s
imagination. As fair specimens of His Highness’ Padams, we may cite
the one in Surutti beginning with ‘Viditham’.
Tillana is a species of composition made in imitation of Hindustani pieces
and are noted for their briskness and liveliness. They exhibit the Jethies
or parts of a Tala with great variety and emphasis. The song ‘Dithrom-Dithrom-tha’
is a good specimen of His Highness’ Tillanas.
There are two Kritanams in which His Highness has epitomised the whole of
the Ramayana and the Bhagvata, two great Hindu religious epics, and another
in which His Highness has set forth the Stala Mahadmyam or the religious sanctity
of Trivandrum. One characteristic peculiarity of His Highness’ compositions
is the copious insertion in them of choice Swaraksharas, which one cannot
better describe than in the words of His illustrious Highness Visakam Tirunal
Maharajah. “The Hindu Gamut is divided into seven parts, the eighth
or octavo being the recurrence in tenor of the first. The seven parts are
symbolized by seven letters. These letters are in themselves meaningless.
But the Maharajah has most adroitly introduced them in several of his compositions
at the very places where the Swaras symbolized by them stand at the same time,
without at all vitiating their meaning. For in the piece ‘Sarasasamamukha’
the Sa and Ma are just where the Shadja and Madhyama Swaras which they represent
should be”. His Highness’ smaller compositions are charmingly
simple, simpler than most other compositions and hence adapted even for beginners
in music. His larger pieces, such as his Varnams, are on the contrary, highly
complex and would put to test the vocal powers of an advanced musician. His
Highness is equally at home in both these kinds of compositions. In some devotional
pieces, His Highness finds his most congenial sphere, the charm of the melody
being nearly allied to the Sopana method and attaining the highest perfection
in the line. The style combines the excellences of Aryan and Dravidian music
while avoiding the defects of both. A native and pristine simplicity like
that attaching to the poems of Chaucer, which is simply inimitable, characterizes
these compositions. We insurance the piece ‘Dhanyoya’ in the charming
tune of Gopikavasantam. One is inclined to think that His Highness’
Varnams and Kirtanams are only subsidiary composition, when compared with
such pieces. In them one can release the garb which Hindu music assumes out
in the rural parts of Travancore, “beneath waving palms and land-locked
lagoons”. Here is a charm and simplicity that is peculiar to Travancore
and that is quite in happy harmony with the simplicity of life and habits
of its peace-loving people. Sing to the countryman the most finished compositions
of Tiagayya and he may rarely nod, but whistle or sing even the portion of
the Maharajah’s simpler compositions like the ones noted above, and
you will see that his countenance is visibly lighted up with joy. Such is
the charm of simplicity. We cannot here help alluding incidentally to His
Highness’s merits on the side of poetry. His Highness religious sentiments
are generally high, and his mastery of the language most admirable. The story
is told how when his most devoted and highly talented musician Parameswara
Bagavathar once sang to His Highness an air in Swaras most elaborately woven,
His Highness followed it up almost instantaneously with words to suit them,
having initial letters corresponding to the Swaras. No wonder the Bagavathar
was struck dumb with admiration at His Highness readiness of invention and
marvellous command of the language.
During His Highness short life (for this illustrion Sovereign lived only to
the age of thirty-three) he has composed so many pieces and of such variety
as to engage the life long attention of all the court musicians. His Highness
compositions are periodically sung by all these musicians on occasions of
festivals and minor ceremonies and also daily in the interval of meals of
the reigning sovereigns. The custom happily continues to the present day.
While we were afraid that His Highness’ larger compositions were forgotten
through neglect, and most of the adept musicians that could sing them were
one by one sinking into the grave, without the chances of the compositions
being handed down to the next generation, it is gratifying to find that under
the patronage of His Highness the Maharajah’s Government, successful
attempts are being made to resuscitate them and give them a permanent form
for transmission to posterity. The yeoman service rendered by the late well-known
Chinnaswami Mudaliar towards the cause of Hindu music by transcribing in English
notation many of the compositions of Tiagayya, cannot but be remembered with
gratitude for ages to come. It would be well if some one would do the same
in respect of the Maharajah’s compositions.
Sopanam
It is worth remembering
that in Travancore the Dravidian system of music in the indigenous form called
Sopana exists side by side with Aryan music. From the existence of a number
of Ragas of purely Dravidian origin and of certain musical instruments now
extant and others referred to in books, it may be inferred that music was
cultivated as an art by the Dravidans from very early times and formed into
a system. It cannot however be definitely stated to what extent the art was
developed. Songs of course exist mostly embodied in the local Kathakalies
and also in the shape of Pattoos or national songs, such as Oonjal, Tullal,
Vanji, Tiruvathira, Bhadrakali, Sastha, Kuratthi and Nanthuni Pattos, which
have been set to Dravidan Airs. Several Dravidian Ragas are at present traceable
in Travancore, such as Padi, Idnisa, Indalam, Puranira and Kanakkurinehi,
to which allusion has already been made. Add to these some twenty other tunes
adapted into the Tamil Thevaram Hymns, as collated by Nambiyandar Nambi in
the eleventh century, such as [?] (corresponding to the Aryan Nattai), Pazhampanjura
to Sankarabharanam), Sadhari (to Pantuvarali), Kousikam (to Bairavi), and
you get a wider view of true Dravidan music. Does not the existence of so
many Ragas (or Puns as they are called in Tamil) point to the conclusion that
the Dravidians cultivated music to a noteworthy degree? It is not known how
many more tunes were in existence. Four different classes of Puns are mentioned,
Palai, Kurinchi, Marutam and Sevazhi, and it is highly probable that what
are known as Themmanka, or more correctly, Thenpanku, which literally means
the “Southern System”, are remnants of the ancient Dravidian system
of music. The probability is heightened by the fact that they present no kinship
to the Aryan system of Ragas. (*The early Jain and Buddhist influence in South
India which discouraged all mundane pleasure, seems to have unfavorably affected
the growth and preservation of all Dravidian Ragas except such as were adapted
for purely religious purpose.)
One important fact that goes to show that the Dravidians carried the development
of music to a considerable extent is the appearance of the word Yazh in ancient
classical Tamil works such as the Thevaram and the Tiruvachakam. This is the
name of the best of the Dravidan musical instruments, and one which is said
to have rivaled the Veenai, so much so that some lexicographers confound the
Yazh with the Veenai of the Aryan system. That this is due to an error will
be clear from it line of Manikkavachakar where the author clearly refers to
two distinct instruments in the same lines, which puts the separate existence
of the Yazh beyond the shadow of doubt. Other references to the Yazh are to
be found in the Thevaram as in the title of Janasamnandhar’s poem Yazh
Moori, and another in Silappadikaram where a detailed description of the Yazh
is given, which will further differentiated from the Veenai. Lastly Kambar,
a more recent author, refers to the Yazh: -There are four varieties of the
Yazh by name Periuazh. Innisayah, Makarayazh, Senkottiyazh. Kambar refers
to the Makarayazh, probably because it was held to be the best or sweetest
of the four varieties. It is not known whether the instrument is now extant,
though it is said that it is in use in some of the Adinams or Tamil Mutts.
It is not now found to be used by the people at large.
Ancient works on Dravidian music have not been yet published, but it is presumed
they are available in manuscript. The names of the seven notes in Tamil are
Kural, Thuttham, Kaikkilai, Oozhai, Ili, Vilari and Taram. These facts will
speak for themselves. The identification of Travancore Sopana music with the
Dravidian system is to be made not only form the similarity in the names of
the tunes, but also from an examination of the Swaras of which they are composed.
Take the tune called Indisa (Tamil Innisai), which is still sung in Travancore,
and it will be found that it is identical in its rudimentary gamut with a
tune that is now passing as Themmanku in the eastern parts, but which is really
the Innisai of the ancient Dravidian music in disguise. The other tune prevalent
in Travancore is not readily identified as Themmanku airs, and their identification
requires further investigation. They are probably sung in certain quarters
in connection with the Thevaran hymns.
In the nature of things, it could not be that two systems of music such as
the Aryan and the Dravidian, flourishing side by side, could have continued
long without each exerting some influence over the other. It is not at present
possible to define the nature or extent of this influence with exactitude.
Possibly the systematization Aryan music may have stimulated that of Dravidian
music, and on the other hand, the Aryan Ragas may have incorporated into them
some note worthy peculiarities of style in Dravidian music, such as the curves
or graces. We instance the Ragas called Kurinchi and Surutti, words which
are undoubtedly Dravidan, though they may have gone to form compound words
of which one part is a Sanskrit word, as Nattai Kurinchi, Senchurutti. There
are also Dravidian tunes with Sanskrit appellations such as Gandharam, Kanakkurinchi,
Mekaragakurinchi. Aryan music in Travancore has partaken of the Dravidan style
by constant intercourse with it. The long curves and the pathetic turns found
in the practice of Aryan music here are a result of this influence. His Highness
Kartiga Tirunal Maharajah and Prince Aswathi Tirunal of the eighteenth century
composed in this style. Gradually there seems to have been an influx of the
brisk eastern style of music, particularly after the spread of compositions
like those of Tiagayya, Dikshitar and other composers. Tiagayya was a contemporary
of the great Swathi Tirunal Maharajah and his influence is to be traced from
the Maharajah’s time onwards. As we have already dwelt upon His Highness
compositions, we shall now turn to the musicians and composers who were contemporaries
of that Royal composer.
[Irayimman Thampi and others]
Next in rank of His Highness, comes the celebrated Iravi Varman Tampi. Himself a relation of the Royal branch, who lived between 1788 and 1855 and died at the age of seventy-three. He was a gifted poet, the finish and beauty of whose compositions are hardly inferior to those of the Maharajah. It would appear that His Highness after composing his pieces loved to show them to the Tampi and set much value on his appreciation of them. The Tampi thereupon lost no time in composing others of his own to the same air and showing them to His Highness. There was thus a literary league between them, which tended to encourage each other in the something like 500 pieces, only 25 of which seem now to be sung. Even these 25 pieces seem to be remembered only by one or two men, and it may be truly said that the further existence of these compositions is very much descendent upon the existence of these men as the men themselves seem dependent upon them for their sustenance. It may here been marked that a daughter of this Tampi known by the name of Kutti Kunju Tankachi was a celebrated Malayalam poetess. His grand-son Mr. Padmanabhan Tampi is a recognized living painter.
Ksheerabdi Shastrikal
Another contemporary
of repute was Sivaramagurudasa, a Brahmin better known by the name of Kshirabdi
Sastrigal. His compositions are pervaded by a spirit of Vedantism, and he
had the genius of conveying the highest Vedantic truths in the simplest garb-a
simplicity bordering on colloquialism. The musical merits of his compositions
are not high, but yet the airs are well calculated to make them popular. A
few specimens are noted below: -
Brahmeva sathiam,
Ramanillathhidam,
Nithiananda vellam,
Sarattu meleri.
This composer is reputed to have possessed marvellous spiritual powers and
great equanimity of mind. The story is told how when a child of his died,
he had the coolness to take the dead body and throw it over the shoulders,
and to improvise the following dirge, while walking with it to the funeral
place: Yellam Brahma mayam.
It said that the great Swati Tirunal Maharajah and his successor held this
composer in high esteem. As to his date, there is living testimony to show
that he was in Travancore till 1031 M. E., corresponding to 1855 A. D. He
looked forty-five when he was last seen and must have been a resident of Travncore
at least for ten years. Latterly he left for Tricurungudi, his native place
in the Tinnevelly District.
Ponnayya
Next comes Ponnayya,
brother of the famous violinist and singer Vadivelu, the most finished man
of the time of the illustrious Swati Tirunal Maharajah. Four brothers, Vadivelu,
Sivanandam, Chinnayya and Ponnayya of the Nattuva community, experts in four
different branches of the art, came from Tanjore and received the royal favour
and patronage. Of these the youngest, Ponnayya, was the only composer, and
a gifted one he was. Since of his compositions are highly esteemed and deservedly
popular. He was equally at home in Swarajits, Padams and Varnams. We shall
give a specimen of each. Swarajits are pieces wholly composed of Swaras and
are helps to students in understanding the nature of Ragas. They form a set
of exercise preliminary to the study of Kritanams.
1. Swarajit in Bairavi-Sa Ni Da Pa Ma Ga Ri Sa: This Swarajit is studied by
beginners both in music and in dancing.
2. Padam in Bairavi-Sadhathi Nerasa. This is a beautiful composition and has
been imitated in Malayalam and Tamil.
3. Varnam in Gambodhi-Sarasijanabha: This Varnam is very popular throughout
the Presidency. In beauty, stateliness, grace and melody, it takes rank with
the best compositions in Hindu music.
Ponnayya has composed a great deal, though many of them are being forgotten
by professionalists in the case of the Maharajah’s compositions from
a want of love of the art for its own sake. Many of them deserve a better
fate.
Parameswara Bhagavathar
The celebrated Parameswara Bagavathar was also a composer. He was undoubtedly
one of the greatest musicians of Travancore, if not of the Presidency. His
name is revered even to this day as the chief of the later Travancore musicians,
as H. H. Swathi Tirunal Maharajah was that of the composers. Parameswara Bagavathar
lived to the advanced age of seventy-seven and saw the beginning and culmination
of Travancore music of the country.
We shall deal with him as a vocal singer later on and confine ourselves to
his compositions. They are invariably highly elaborate, involved and difficult
to be song by the ordinary vocalist. They are, however, monuments of his subtle
ability and mastery in music and deserve perpetuation as such. The Varnam
in Nattai beginning with ‘Sarasija’ is a good specimen.
We have now dealt with the chief, if not all the composer of the time of H.
H. Swati Tirunal Maharajah and shall now turn our attention to the musicians
of his day, who in combination with the composers named above, contributed
to make the region of that sovereign the Augustan Age of Travancore music,
as was happily expressed by H. H. Visakham Tirunal Maharajah.
Govinda Marar
First in order
of time comes Govinda Marar, one of the greatest musicians of Travancore,
famous for his meeting with the great Tiagayya of Tanjore. He was a native
of Ramangalam in Moovattupuzha Taluk. He is sometimes known as Shatkala Govinda
Marar in virtue of his extraordinary powers in singing Pallavis in six different
scales of Tala or time. To make our meaning clear, a man who sings on the
second scale or Kala compresses the Pallavi into half the space of time which
he took to sing it on the first scale or Kala. To sing it on the third scale,
he would have to compress the Pallavi into one-fourth of the same time, and
so on up to the sixth scale. It is hardly imaginable how one, with the ordinary
powers of the human voice, could sing a Pallavi on the sixth scale except
on the supposition that the scale of time fixed for the first is extraordinarily
slow. But in the latter case, the powers of measuring and regulating the time
by a mere mental estimate would be taxed and tested to the highest degree.
So volatile, unsubstantial and evanescent is time that unless a reasonably
short interval is allowed between two notes, its measurement is likely to
cloud the grasp of the subtlest intellect. One is therefore forced into one
of two conclusions, either that the voice of Govinda Marar was so highly developed
as to enable him to sing a Pallavi with almost electric speed, or that his
powers of mental measurement of time must have been marvellous. It is highly
impossible that he sang the Pallavi with greater speed than the best musicians
of the present day could sing it. The only explanation therefore lies in the
second alternative that he had very highly developed the mental power of measuring
time.
Govinda Marar belonged to the time of the great Swati Tirunal Maharajah and
is said to have been seen in Trivandrum in 1006 (1831) by Parameswara Bagavathar,
the first foreign musician of the century that settled in Travancore. Govinda
Marar was probably in Trivandrum some years earlier. Impelled by a desire
to visit the British parts, Govinda Marar, who by this time became attached
to one Nallatampi Mudaliar, the then Vicharippucar of the Royal Stables and
the paternal uncle of Mr. Vedadrisdas Mudaliar, the late grand old man of
Travancore, left Travancore for Palancottah in company with Nallatampi Mudaliar.
He lived with him for some years, and Mr. Vedadrisadasa Mudaliar, to whose
sympathy and kindness we owe all our information about this musical celebrity,
himself saw the man, and was an eye witness to some of his performances. This
was before the year 1838. Govinda Marar was at that year about 40 years of
age. He sang with a Ganjira in his hand and a Tambur having seven strings,
unlike the ordinary ones which have only four. Of the seven, three were Saranas,
three Panchamas and one Mandra. This Tambur had a flag attached to it and
is still reputed to be preserved at Pandrapur near Poona, where Govinda Marar
is said to have died on his way to Benares. Periyavaiti, another celebrated
musician, is said to have travelled all the way to Pandrapur to sing with
this instrument and to have failed in the attempt. Mr. Vedadrisadasa Mudaliar
remembered how when an eminent musician from Ettiyapuram came to Mr. Sulochana
Mudaliar, his father, and was distinguishing himself, Govinda Marar was called
in, who by his superior performance silenced the other musician. Nallatampi
Mudaliar highly appreciated the talents of Govinda Marar and was so found
of him that he used to take him in his carriage to hear him sing during the
drive. Nallampi Mudaliar seems to have presented him with several thousands
of rupees, not quite to the liking of his brother, together with a glass idol
of Krishna, which was also taken by Govinda Marar to Pandrapur. Govinda Marar
was by nature independent, had little care for money and had a thirst for
glory and renown, and this seems to have led him to travel away from Travancore
in spite of many temptations to remain.
We shall now give some details about the celebrated meeting of this musician
with the great composer, Tiagayya of Tanjore. Here again we are indebted for
this information to the grand old man, who, it is important to add, was till
very lately, one of the very few living men that had seen the great Tiagayya.
We may be permitted to digress a little here to note the circumstances under
which the grand old man saw Tiagayya. Mr. Mudaliar was barely twenty-three
when he saw him. It was one fine evening in 1843 at about 5 O’clock
in the little village of Tiruvayyar when Tiagayya was sitting with his disciples
in his house, that the young Mudaliar on his way from Madras to Palamcottah
in company with his father paid a visit to the great composer. Mr. Mudaliar
heard the disciples sing, but not the master. After a short stay, the father
and son returned. It was the news of the celebrated meeting of Govinda Marar
with Tiagayya that lured Mr. Sulochann Mudaliar to pay a visit to Tiagayya.
The grand old man expressed his personal impressions of Tiagayya, a few months
before his death, as far as he could remember at that distance of time. He
was a tall, lean man of a brown completion, and this agrees with the description
given by Ragupathi Bagavathar who had it from Kannayya, one of the reputed
disciples of Tiagayya, who spent the latter part of his life in Travancore.
It need hardly be said that the information of Mr. Mudaliar'’ sight
of Tiagayya was received with an unconscious thrill. Imagine the feelings
of a man who meets with one that could say he saw Shelly or Keats, or those
of a man living at the end of the seventeenth century who listens to the personal
impressions of a man who saw Shakespeare or Ben Johnson! Now to revert to
the meeting. It was, as already stated, Nallatampi Mudaliar that took or accompanied
Govinda Marar to Tiruvayyar, about the year 1838. The circumstances of this
meeting were narrated to the grand degree of certainty about them. It is said
that the celebrated musician Vadivelu of whom mention will be next made, was
present at the time. Govinda Marar, in the presence of Tiagayya on being treated
to the music of Tiagayya’s disciples, expressed his desire to hear Tiagayya
himself sing. Tiagayya ejaculated in Telugu “Who is the man that can
ask me to sing?” Apparently the audiences were to listen only when he
was disposed to sing of his own accord. Tiagayya then enquired of Vadivelu
“Who is the man (pointing to Govinda Marar) that sat with the songsters
with a flagged Tambur in hand?” Vadivelu said that he knew to sing a
little. A Pallavi in Pantuvarali beginning with “Chandhana charchitha”
was then sung round on the motion of Govinda Marar. When it was the turn of
Govinda Marar to sing it, all the other instruments had to be put aside and
his Tambur alone could accompany him. So high was the pitch of the music.
He sang it in Shatkala. All the musicians were struck dumb with administration.
Tiagayya remonstrated with Vadivelu for saying that Govinda Marar knew to
sing only a little. Tiagayya himself was so taken up with the music that he
dubbed Govinda Marar as Govindaswami and at the close of the performance *
he improvised a song on the spot, it spired by his admiration for Govinda
Marar. The song was in the Raga named Sreeragam which is usually used for
Mangalams at the close of musical performances. It begins with “Entharo
Mahanubhava”. The burden of the song may be rendered thus-“There
are many great men in the world and I respect them all.” The grand old
man recollected his having heard this piece sung in Tinnevelly. It is now
known to many who are familiar with Tiagayya’s compositions and stands
to posterity as a sweet remembrancer of the celebrated meeting. (* This fact
was borne out by the independent testimony of Pirambur Krishna Iyer who was
the first disciple of Tiagayya.)
There are two or three other versions of the story of this meeting, but we
think more reliance should be placed on the testimony of the Vedadrisada Mudaliar
who had it direct from his uncle than the other which is merely traditional.
Govinda Marar was small in stature, and afflicted with rheumatism which made
him a cripple for life. It is said that there are several elaborate Varnams
composed by Govinda Marar and prevalent in the British parts, known by the
name of Govindaswami Varnams. They are not prevalent in Travancore, probably
because they were composed after Govinda Marar’s departure from Travancore,
whereto he returned but once in the guise of a Sanyasin.
Vadivelu
We shall next
deal with Nattuvan Vadivelu, an eminent vocalist, violinist and dancing master
who was attached to the court of His Highness Swati Tirunal Maharajah. A native
of Tanjore, he is said to have settled in Travancore along with his three
brothers already named. While in Tanjore, he was probably known to Tiagayya
who was in Tiruvayyar, six miles from Tanjore. Some even says that Vadivelu
was Tiagayya’s violinist for some time. That he was present when Govinda
Marar met Tiagayya seems evident from the testimony of Mr. Vedadrisadasa Mudaliar.
His settlement in Travancore was probably some time later. He seems to have
won the favour of His Highness, who appreciated his music so highly, that
he became the court musician on the very handsome salary of Rs 110 a month.
A sum of 100 rupees in those days was something like Rs 700 at the present
day. It was a time when Tahsildars and Munsiffs were paid Rs 30 and 40 a month.
The other musicians were paid between Rs 10 and 35. This great disparity in
pay shows what value His Highness set upon Vadivelu’s music. Poetry
and music form the very atmosphere in which His Highness lived and moved and
had his being. Dewan Subba Rao was himself a musician, and Mr. Vedadrisadasa
Mudaliar was present for several musical entertainment at the Dewan’s
quarters where in Vadivelu took part. Mr. Mudaliar remembered him only as
a violinist; probably he never heard his vocals music. Unfortunately, that
was not a time of Gramanhones. Otherwise, we should have had transited transmitted
to this day specimen of his vocal music. Nevertheless, we are not altogether
destitute of means of forming to ourselves some idea of his style of singing.
As Vadivelu seems to have had some hand in composing the Varnam with the initial
words ‘Sumasayaka’ in Kapi Raga already adverted to, we have in
it a specimen of his vocal music. That Varnam stands out from among His Highness’
compositions with a distinctiveness of style that reveals foreign authorship.
Unlike other Varnams, its Pallavi (or burden) is decked with beautiful variations,
variations which bespeak some acquaintance with the compositions of Tiagayya.
Indeed, it is definitely known that Kannayya Bagavathar, one of the disciples
of Tiagayya, when he first came to Trivandrum, sought an introduction to His
Highness the Maharajah through Vadivelu, as it was then the rule that any
musician who desired to have an interview with His Highness must first sing
before Vadivelu and satisfy him. Vadivelu himself mastered a few of Tiagayya’s
compositions from Kannayya Bagavathar, and sang them before His Highness.
His Highness was so much pleased with the songs that he gave Kannayya Bagavathar
a ready interview, and the story goes that His Highness after some time dispatched
Vadivelu with instruments to invite Tiagayya himself to his court Vadivelu
accordingly went to Tiruvayyar, and engaging a lodging in the very street
where Tiagayya lived, he so captivated the people with his singing that the
news reached Tiagayya through his disciples. Tiagayya at first gave little
credence to the flattering reports of his disciples about Vadivelu’s
music. But the high merits of the singer were so dinned into his ears that
he was almost involuntarily drawn towards Vadivelu’s lodging place to
hear him sing. The report goes that he was so highly impressed with Vadivelu’s
singing that he invited him to his own house and made him sing His Highness
compositions. Tiagayya expressed admiration to them, particularly as they
were devoted to the praise of the very deity that he worshipped. Vadivelu
in the course of conversation took occasion to express to him His Highness
wishes to have Tiagayya as his guest Tiagayya seems to have courteously declined
the invitation for reasons which he deemed impolitic to divulge. The fact
seems to have been that Tiagayya, during the latter part of his life, refrained
from paying visits even to the Maharajah of Tanjore, and living in his dominions,
he naturally shrank from accepting the invitation of an alien prince, when
he had voluntarily cut himself off from his own sovereign. Disconcerted in
his object, Vadivelu returned to Trivandrum with the news of the unsuccessful
termination of his mission.
A cloud appears to have settled upon the hitherto amicable relationship of
Vadivelu with His Highness, and during the latter part of his life, Vadivelu
lived an exile at Haripad though His Highness permitted him to draw his usual
allowances. He returned to Trivandrum some time afterwards and died in the
year 1020 M. E. (1845).
In appearance he was dark, lean and squint with one eye. His voice was melodious
and powerful, and his singing is said to have been unrivalled by that of any
musician of later date, not even excepting the great Ragavaier. A Tillana
composed by him in praise of His Highness is still extant. Vadivelu is said
to have been the musician who first introduced the fiddle in Travancore. He
seems to have arranged the curriculum of music to be sung in the temple at
Haripad. His style of singing, as evinced by his only Varnam that appears
to be extant, was grand and subbing, and shewed and exuberance of the imagination
characteristic of a born musician.
Maliakkal Krishna Marar was a musician who followed in the wake of Govinda
Marar. He came to Trivandrum during the reign of H. H. Swati Tirunal Maharajah
and paid his first visit to Parameswara Bagavathar, who being taken up with
his music, introduced him to His Highness. He was a finished musician and
could sing with equal facility Varnams, Kritis and Pallavis. He sang with
the Dravidian instrument called Idakka in his hand. The Idakka, though only
a percussion instrument, is capable of producing the seven notes of the gamut.
The instrument is used in some of the temples of Travancore. He was known
to Vadivelu. He was presented with a pair of bangles and a flag to be attached
to his Tambur as a mark of honour. Latterly, he is said to have gone to Tanjore,
and nothing further was heard of him.
Meruswami and Others
Meruswami was
a celebrated Katha performer of the time of the same Maharajah. He was a Mahartta
Brahmin of Tanjore and was also known by the name Kokilakanta on account of
his mellifluous voice. He first settled in Travancore in 1008 M. E. (1833),
was attached to the palace and was in receipt of a monthly salary of Rs. 100.
He lived up to the year 1045 M. E. (1870).
Katha performance is a religious narration accompanied by recitations of lyrical
pieces or hymns by a chorus of singers led by a chief performer. Meruswami
sang in a high pitch of voice and with great accuracy. Owing to his strict
adherence to principles of purity in music, Meruswami never resorted to musical
variations. His Iyrical pieces were incurably devotional. He was accompanied
by the cerebrated drummer Hari Rao. Meruswami was able to adapt new airs to
some of His Highness compositions, but the composed nothing original. The
songs beginning with ‘Bajaseena Kimbatha’ in Kaliani Raga and
‘Viabeenabhua’ in parasu Raga may be quoted here as specimens
of songs song by him.
In the early part of the year 1036 M. E. (1860), His Highness Ayillium Tirunal,
the then Elaya Rajah, got down another Mahratta Brahmin Lakshmana Gosayi by
name, and entertained him as an additional Kata performer under the name of
Maha Meruswami. Ivumour has it that Maha Meruswami was called in as a formidable
rival to Meruswami, as the latter was not amenable to the requisitions of
the Elaya Raja. The style of Maha Meruswami was little more diversitied with
musical variations than Meruswamis. While the latter was accompanied by a
chorus of singers and instrumentalists forming his staff, Maha Meruswmai had
just one singer to accompany him, and his own son was the drummer. It is said
that Maha Meruswami’s voice would range between four octaves, which
is an extraordinary feat.
Parameswara Bagavathar, a Brahmin of Palghaut who in 1008 M. E. at the early
age of eighteen visited Trivandrum in connection with a festival and who was
heard to sing in the temple by H. H. Swati Tirunal Maharajah, was retained
in His Highness services and was later on enrolled as the chief among the
court musicians. He became greatly attached to His Highness by dint of his
high merits in music and the possession of a sweet and melodious voice. He
was of great assistance to the Maharajah in singing his compositions and teaching
them to the other court musicians. He lived to the good old age of seventy-seven
and his reputation as a musician has spread far and wide. He was the Guru
of the talented Ragavaier, one of the greatest singers that Travancore has
ever produced. In festivals and entertainment before the Maharajahs of Travancore,
Parameswara Bagavathar invariably took the lead. He was in more respects than
one acknowledged to be the head of the musicians and for his piety was revered
by all. As a vocal musician, he occupies a lofty place. He was also well-versed
in instrumental music. In singing the species of musical elaboration called
Thanam, Parmeswara Bagavathar stood unrivalled. It is remarkable that he retained
the sweetness and melodiousness of his voice till the very last. Indeed, his
only rival in these respects was Mahavaiti. We have already referred to his
merits as a composer. He left two sons Mahadeva Iyer and Ramakrishna Iyer
who were both talented musicians, and both father and sons were noted for
their extraordinary spirit in singing Pallavies and their scientific knowledge
of the art.
It is worth mention that Subba Rao, Dewan of H. H. Swati Tirunal Maharajah,
was himself musician versed in Swarabit and drum. He is reputed as His Highness’s
the Guru in the Swarabit. It is said that he was a master of the drum, in
which he would accompany His Highness. He used to have frequent musicial entertainment
at his own residence in which the celebrated Vadivelu took part.
Besides the musicians named, there were others whose names are noted below:
-
Kalkulam Bhaskara Bagavathar
Boothapandi Subbu Bagavathar
Kuniyur Sesha Bagavathar
Palghaut Sesha Bagavathar
Palamcottah Annasami Bagavathar
Karamanai Muthusami Bagavathar
Tanjore Venkatarama Bagavathar
This closes the history of Travancorean music during the time of H. H. Swati
Tirunal Maharajah. Mention must here be made that the deep and personal interest
His Highness took in Hindu music gave a great impetus to the development of
the art. In this connection, it may be added that His Highness did not forget
to encourage the development of the kindred arts of poetry painting and ivory
carving.
We come now to the reign of H. H. Martanda Varma (Uttradam Tirunal Maharajah),
who ascended the musnud, in the 1022 M. E. And reigned up to 1033, a period
of 14 years. From a musical point of view, His Highness reign was almost eventless,
as he interested himself more in the development of the indigenous drama called
Kathakali. This art indeed flourished to a remarkable extent, His Highness
own courtiers taking part in the representations. His Highness of course allowed
the existing daily routine of music being followed with our hindrance. As
some of the musicians and composers who flourished during his predecessor’s
time continued their work during his region, it might be said that the history
of music during musicians. No separate mention about them is called for here,
as they have been dealt with already. We shall merely name them for facility
of reference. They were Kshirabdi Sastrigal, Parameswara Bagavathar and Mersuwami.
There was, however, one composer peculiar to the period, viz., Kulathu Bagavathar,
and as a specimen of his compositions may be mentioned his Kamas Swarajit.
Ayilyam Thirunal
The next period
covering the reign of H. H. Ayillum Tirunal Maharajah was, as regards music,
one of the brightest epochs after that of H. H. Swati Tirunal Maharajah, brightest
we men, as regards the practice of music, vocal and instrumental, and not
as regards compositions. Indeed, taken all in all, the practice of music could
not be said to have been anywise less noteworthy then than it was during H.
H. Swathi Tirunal Maharaja’s time. Some of the most brilliant Travancore
musician flourished during this time. The figure of the famous Ragavarier
looms in our vision. He was surrounded by some of the ablest musicians that
Travancore has produced, such as of the ablest musicians that Travancore has
produced, such as Kalianakrishna Iyer on the Veenai, Mahadeve Iyer on the
Violin, Kunjari Raja on the Swarabit and Kittu Bagavathar on various instruments
such as Swarabit, Veenai, Violin and Jalatarangam, besides vocal music. It
was the period of Ragavarier’s brightest achievements. It must be remembered
that the cause of this great out burst in the practice of music was here again
of this great outburst in the practice of music was here again the personal
interest and patronage of His Highness, his own accomplishment in music having
been of such a high order as to call forth the enthusiastic encomiums of the
best musicians of the day. Once when Mahavaiti was singing a Pallavi before
him, His Highness, seeing that none of the court musicians ventured to compete
with him, himself offered to sing the Pallavi and sang so well that Mahavati
cried our in admiration, “Had we known that your Highness was such a
master, we musicians should have shrunk from singing before your Highness.
It was lucky that we anticipated that knowledge.” No wonder, then, that
His Highness threw his heart and soul in the development of music and most
liberally patronised its votaries. The musicians of this period fall under
different classes according to their proficiency. In the first class may be
named Parameswara Bagavathar and the five or six musicians already named,
Parmeswara Bagavathar being, as usual, the veteran leader of the whole band.
Ragavaier was born in Vadaseri near Nagercoil about the year 1000 M. E., and
died in the year 1054. He was a disciple of Parameswara Bagavathar. After
completing his course of studies in music at an early age, he left Travancore
for the British parts and by listening to the great musicians of the day in
the various parts of the country, developed his own musicial powers to a wonderful
degree, those powers that were to make the halls of Rangavilasam ring with
his superb music. After some time he returned to Travancore, was enrolled
as a court musician and settled himself at Haripad, where he married.
About this time, that is, in the month of Kanni of the year 1017, while the
celebrated Mahavati Bagavathar of Tanjore was staying in Trivandrum for three
months, he visited His Highness and so highly distinguished himself that it
was felt that such music could not be matched in Travancore. His Highness
sent for Parameswara Bagavathar and through him dispatched letters to Haripad,
inviting Coimbatore Ragavaier to the court, (for at this time Ragavarier came
to be known by that name, because of his long residence at Coimbatore). In
a few days, Ragavaier made his appearance in Trivandrum and was introduced
by Parameswara Bagavathar to His Highness. Now came the time for the famous
duel between these two great musicians, and everybody cagerly looked foreword
to the occasion which should decide the fate of Travancore. One afternoon
at 2 P. M. All the musicians assembled under command at Rangavilasam. There
were also present the following men of learning: -
Elathoor Ramaswami Sastrigal
Ragava Iyenger Sastrigal
Kadayam Subba Sastrigal
Tiruvisanalloor Ramaswami Sastrigal
Meruswami
Anandasmi Gosayi, son of Maha Meruswami and other.
The accompaniments were Violin by Mahadeva Iyer, Veenai by Kalianakrishan
Iyer, Mritangam by Setu Rama Rao and Somasi Bagavathar. Those present were
all attention. Ragavaior elaborated the Raga called Sankarabharanam and sang
a Pallavi in it in Adi Tala, which ran thus: - ‘Vinavayya Panchanandessa’.
The singing closed at about 5 O’clock, but was resumed at night at about
seven and lasted till half past ten. Kaliani Raga was elaborated by Mahavaiti
and a Pallavi in it beginning with ‘Tharka Brahma’ was sung by
both the musicians.
Elaboration is not a field for competition; at least, the field is so wide
and undefined that the power of imagination of the singers cannot be so accurately
guaged during elaboration, as when their maneuvers are placed constantly in
juxtaposition as in singing Pallavies, where the Avartanams or turns limit
the scope of imagination to the scale of Tala fixed. In elaboration, each
singer displays his own percular style of singing, but things never race to
a conclusion. A Pallavi, on the other hand, is a bit of musical strain, or
sometimes the burden of a song, to which each singer is bound to return after
the exhibition of the flights of his imagination, limited as it will be to
the scope of the specific scale of time of Tala fixed, and to leave the next
turn to his opponent, wherein the latter is free to surpass him, if he can,
in the fecundity of his imagination. The turns give each singer an opportunity
to concentrate his best powers at a given point, and he who is palpably the
inferior collapses in a longer or shorter interlace, relinquishing the field
in favour of his more successful rival. Thus, the man who flags at the last
is taken to have yielded the palm to his competitor. The collapse may be due
to want of speed, or vocal agility, or exherance of imagination, or precision
in Tala. The Pallavi is therefore an unmistakable test of ability. Where abilities
are equal or nearly so, the rivals hold out long.
To return to our subject, how shall we describe the scene of the famous musical
combat, wherein the greatest of the Eastern singers was pitched against the
greatest or to be greatest singer of the times in Travancore? Shall we compare
them to two prowling, fierce lions that, shaking their proud and shaggy manes,
rush against each other like the furies, and fights to the death? Or shall
we liken them to two Roman gladiators, feeding the eager curiosity of the
spectators with the giant exhibitions of their strength? How can we picture
to the reader the excellence of their singing? Shall we say they were two
musical fountains, sprouting perpetually, rising one above the other, and
falling in magnificent showers on the greedy ears of the audience? Or shall
we say they were two sky-seeking musicial rockets which, leaving the sullen
earth one after the other, coursing through the silent air and reaching their
point of culmination, suddenly burst into a hundred brilliant starlike melodies
and combinations by which the ear was flooded? The scene was one more to be
witnessed or imagined, than described.
The tug of war was continued the nest day. Todi Raga was elaborated and a
Pallavi in Adi Tala beginning with Emanimatladi neevo rama rama rama was sung.
A Pallavi in Karaharapriya Raga, being the initial portion of Tiagayya’s
‘Sakkaniraja’, was sung. It must be remembered that Mahavati was
no easy opponent to deal with, being a master of many tunes which were yet
unknown in Travancore, and gifted with a voice unrivalled in clearness and
sweetness, coupled with a special capacity for rapid performances. Ragavaier,
on the other hand, could not boast of these natural endowments and facilities.
But all the same, he impressed the audience with his originality, manly vigour
and ready resourcefulness. His voice, though somewhat bluff, was yet strong,
and seemed to suit the holdness and majesty of his styles. His method was
Ghanam, while Mahavait’s was Nayam. “Ghanam” means gravity,
and “Nayam” means persuasiveness ; the one forces admiration,
the other lures it; the one may be characterized as tower of strength, the
other as a well laid-out garden ; the one a mighty river, the other a fresh-water
lagoon ; the one was imposing and sublime, the other mellifluous and dazzling.
Indeed, Ragavarier was so much admired for his sublimity that he seems to
have founded almost a school of his own. Whatever he sang was stamped with
his individuality. He was a man who despised the beaten grooves of singing
and cut out his own way, as it were, though rugged mountain heights and pathless
forests. It was difficult to say which of the combatants carried the day;
but it was proved beyond a doubt that Mahavati for the first time discovered
his most formidable rival. Both the musicians were treated with equal courtesy
and equally honoured by His Highness, who gave them pairs of bangles, laced
shawls been surpassed. He has composed a Varnam which is the only living record
of his style of music. Mahadeva Iyer was a daring genius, noted for his individuality.
He was the eldest son of Parameswarn Bagavathar and had but few rivals on
the violin. In Pallavi especially, he was a most spirited and fertile player.
He was thorough in the science of music, and was the author of several Geetas,
a species of composition that forms a preliminary to Varnams.
Kunjari Raja was undoubtedly the greatest player in Travancore on the Swarabit.
He was a versatile musician and could play with much facility on the Violin,
Harmonium and Jalatarangam. With the Swarabit, he held his own against Mahavai
and Ragavaier. It is said that he was the person who first introduced Ragavaier
to the Maharajah. Among the foreign musicians who visited Travancore during
H. H. Ayillium Tirunal Maharajah’s time, Chinnavaiti and Periavaiti
deserve special mention. The names of some other respectable musicians of
that time are (1) Kittu Bagavathar (Violin Swarabit, Mritangam and vocal music),
(2) Chatthu Bagavathar, a sweet player on the veteran, (3) Venkitadri Bagathar,
father of Kalianakrishna Iyer (Veenaist), (4) Ganapati Bagavathar (Violin,
vocal music and Swarabit), (5) Mahalinga Bagavathar (Swarabit), (6) Haribira
Bagavathar (Swarabit), (7) Srivaikuntam Subba Bagavathar and (8) Vadaseri
Rama Bagavathar (both vocalists)
There was nothing of note about music during the next reign, viz., that of
His Highness Viskam Tirunal Maharajah, except that Mahavaiti paid two visit
to Travancore, the last of which was on the occasion of the marriage ceremony
of His Highness’ daughters. His Highness permitted the continuation
of the usual curricula of music.
Coming to the present reign, Her Highness the Senior Ranee, in addition to
being a vocalist, was an expert on the Veenai to a degree that few women in
the whole Presidency could rival. She was also a linguist and was reputed
for her versatile accomplishments. Her Highness also composed songs in various
languages.
His Highness the late Aswati Tirunal, First Prime, was a vocal singer of a
high order. His Highness could sing with equal mastery Tiagayya’s Kirtanams,
Varnams, Tillanas, Hindustani, Mahratti and Guzerati songs, and could celebrate
Ragas and sing Pallavies. Truly a gifted prince, His Highness combined this
excellence in music with other varied accomplishments. He was besides one
of the few graduate princes in India, and his merits were extolled by the
Viceroy, Lord Curzon.
His Grace Kerala Varma Valia Koil Tampuran CSI was a good player on the Veenai.
His attainments in music harmonised well with those of his royal consort.
He combined this knowledge of music with profound scholarship in Sanskrit,
Malayalam, English and other languages.
Of professional musicians, the name of Ramachandra Bagavathar, one of the
greatest of Veenaists, remains to be prominent mentioned. He was rivaled only
by Mahadeva Iyer on the Violin. His master of the Veenai bears close kinship
to that of his late famous brother Kalianakrishna Iyer. A singular variety
of combinations, charming clearness and sweetness, sublimity and dexterous
maneovring are the main features of his performance. Next to Ramachandra Bagavathar,
the name of Ramaswamy Bagavathar deserves mention. He is an adept on the Violin,
Veenai, Swarabit and in vocal music and, though taken singly in these respects,
he is surpassed by other specialists, yet his versatility gives him a respected
height among musicians.
We close with the names of Ragupathi Bagavathar, Ramakrishna Iyer and Vancheeswara
Bagavather, which occupy high places as vocal musicians. Ragupathi Bagavathar
was a disciple of Kannayya, who was a disciple of Tiagayya. He had few rivals
as a vocalist and in some respects was unequalled by any musician since Ragavaier.
His voice was singularly army sweet and his mode of elaboration and singing
of Kirtanams, always attractive. In him Tavancore has lost one of the veteran
musicians that could sing to perfection the compositions of H. H. Swati Tirunal
Maharajah. Ramakrishna Iyer, brother of Mahadeva Iyer, developed some original
methods of elaboration, and was, like his brother, a very spiritual singer.
His acquaintance with English served him to find fresh fields for development
in Hindu music. The last named, Vancheeswara Bagavathar, was a respectable
singer with great natural endowments in music
During the present reign, the name of Nilakanta Dasar, a Brahmin of Karamanai
and a composer of religious lyrics, deserves mention. He was born in Trivandrum
in 1014 M. E. (1839) and died on the 8th Adi 1675 M. E. (1900). He was in
Government service from his 20th to his 35th year. From his thirty-sixth,
he began to compose his lyrics, chiefly in praise of Siva to which deity he
was strongly attached. He has rendered many stories of the Tamil Peria Puranam
into Kirtanams fit for use in Katha performances. The airs adopted are interesting
and the sentiments are conveyed in popular and impressive language.
It remains to be summarized that we owe much of the development of m use in
Travancore to the personal encouragement and patronage accorded by its sovereigns,
and it is a matter for thank fullness that his gracious Highness the present
Maharajah continues this help towards the cause of music, no less by the protection
he kindly affords to its votaries in Travancore than by the generous and judicious
patronage he extends to foreign musicians that visit his land.
This is an age of great discoveries and marvellous inventions. The invention
of the Phonograph has made it possible to record the achievements of the human
voice with the greatest possible accuracy and forms the best help towards
perpetuating the style of singing and compositions of the great musicians.
What Hindu would not listen to the great Tiagayya, or Govinda Marar, or Vadivelu,
or Mahavaiti, or Ragavaier, or Natesan, if it were possible by any feat of
legerdemain now to reproduce their subline music? But alas! theirs was not
a time of Phonographs and Gramaphones, or if it was (as in the case of the
last three), these instruments were hardly resorted to as a means of preserving
their music. Here we are with the phonograph ready at hand to obey all our
behests, and yet how listless and indifferent we are in recording the compositions
of H. H. Swati Tirunal Maharajah, or Ponnayya, which, but for such perpetuation,
may be lost to the world for ever! God forbid such an untoward result! We
may express a hope, a fervent hope, that no labour or time would be grudged
to preserve these compositions for the delight and recreation of possibilities
and which, fortunately for all, still holds alive a great many of these compositions,
will be availed of to the best advantage, and not allowed to slip, and that
we shall endeavour, by every means in our power and with an unselfish spirit,
to place within the reach of the next generation those songs, those musical
strains, those perennial fountains of heavenly happiness at which we have
so often fed our own thirsty souls. (For a collection of H. H. Swathi Tirunal
Maharajah’s compositions the reader is referred to the following publications:
- Musical compositions of H. H. Swati Tirunal Maharajah by Mr. K. Chidambara
Vadhyar B. A. Balamrithan with musical notations by Mr. S. Ranguatha Iyer.)
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