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This Day That Age
The Experts' Committee of the Madras Music Academy met on the 22nd morning at the P.S. High School, Mylapore with Sri T. N. Swaminatha Pillai in the chair. Sangitha Kalanidhi T.V. Subba Rao gave a discourse on `Thyagaraja Kritis'. Six rare kritis of Thyagaraja were rendered by Vidwan Maruthuvakkudi Rajagopala Aiyar, two of them in the rare raga-s Poorna Lalitha, and Dundhubi. Mr. Subba Rao took up the Thyagaraja compositions `Vachamagochara' and `Bantureethi'. He said that the saint's kritis integrated beautiful poetry, aspects of life, and religion and philosophy, with music of surpassing charmIn the first kriti, `Gana Lola' used to address Sri Rama implied that Sri Rama, as a lover of music, would be too full of the milk of kindness to be cruel. The piece was in raga Kaikavasi, of which there were two versions, one without Dhaivata, and the other employing Shadsruthi Dhaivata in Arohana only. The former was taken as deriving from Simhendramadhyama on Neethimathi. The other version taken as from Neethimathi only, was Sampoorna in Arohana, and Shadava in Avarohana (omitting Dhaivata). The difficulty it involved of using Kakali Nishadha succeeding Shadsruthi Daivata, could have led to the omission of Dhaivata entirely. Subbarama Dikshithar had indicated the need to render vivadi ragas most carefully. Extant compositions showed that the higher vivadi swara-s were used in the ascent regularly followed by Madhyama, or Tara Shadja, and the lower vivadi notes were used in the descent followed by Panchama or Shadja. This principle was followed too in rendering `Bantureethi' in the raga Hamsanadam.
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