The compositions of Dikshitar
P. VASANTH KUMAR
KRITIMANIMALAI — Sri Muddusvami Dikshitar’s Compositions: English adaptation based on R. Rangaramanuja Ayyangar’s magnum opus by Padma Varadan; pub. by Vipanchi Charitable Trust, 20, Kasturi Buildings, Jamshedji Tata Road, Chruchgate, Mumbai-400020. Rs. 720.
The late R. Rangaramanuja Ayyangar who was a direct disciple of Veena Dhanammal, was one of the earlier Vidwans to source, notate and publish the compositions of the trinity in a detailed fashion. His daughter, Padma Varadan, who has already published the English adaptation of Tyagaraja’s compositions in two volumes, has brought out this work as a sequel to them, and by this painstaking effort she has done a monumental service to Carnatic music. Almost all the available compositions of Muddusvami Dikshitar find a place in this veritable treasure trove.
The songs, about 400 in all, are grouped under heads like Navagraha Stotra, Sri Kamalamba Navavarna, Panchabuta Ksetra, Tyagaraja Vibhakti, Abhayamba Vibhakti, Ganapati, Guruguha Vibhakti, Madhuramba Vibhakti, Nilotpalamba Vibhakti, Tiruvarur Panchalinga and Ragamalika krithis. Rare photographs of Rangaramanuja Ayyangar with Veena Dhanam and that of Simizhi Sundaramayyar who was one of the mentors of Rangaramanuja Ayyangar find a place in the book.
A moving homage is paid to Veena Dhanam in the form of a Sanskrit verse wherein Dhanam’s music is mentioned as the most favourite of Goddess Sarasvati. There are pages devoted to the nine Avarnas of the Srichakra with detailed descriptions of each Avarna. The colour photograph of the Srichakra brings in a religious and devotional hue to the publication.
Symbols
Very clear symbols for the Gamakas (oscillations) associated with Carnatic music like Ahata, Andolita, Jarus (up and down), Kampita, Khandippu, Nokku, Odukkal, Ottudal, Pratyahata and Sphurita are provided in the notations of the songs. If practioners of Carnatic music would patiently read the explanations provided for the symbols and understand them, it would be easier for them to learn the songs as notated. Rangaramanuja Ayyangar being a vainika, has provided the notations taking into account the manner in which a Veena player should play these songs.
The meaning of the compositions has been givenclearly and this will be of benefit to performers, students and rasikas. For a monumental publication of this nature, the book is purse-friendly.
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