Remembering Dikshitar
A. RAMALINGA SASTRY
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A recital and analysis shows the maestro in a new light.
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K. Seshadri
The 171st death anniversary of Muthuswamy Dikshitar was organised by Thyagaraja Aaradhana Trust in association with its parent body Visakha Music and Dance Academy in Kalabharati last Friday. Noted vocalist Komanduri Seshadri rendered a few compositions of the Vaggeyakara along with an explanatory talk on them. He elaborated how Dikshitar covered almost the entire diapason of the various music traditions in his compositions. His compositions were not only set in ragas of the pure Carnatic and the North-Indian music traditions along with the gathi and the yathi variations of their thala systems but also in a few hues of the minor and major scales of the western system.
Explanation
Singing the compositions like Swaminadha Paripalayasumam (Nata), Siddhivinayakam (Shanmukhapriya), Thyagaraja Yogavaibhavam (Anandabhairavi), Sri Naadaadhi Guruguha (Mayamalavagoula), Sri Balakrishnambhaje (Dvijavanthi), Anandamrithavarshini (Amrithavarshini), Meenakshi Me Mudamdehi (Purvikalyani) and the like, Seshadri explained how the specific attributes of the particular raga along with its fervour get unfolded gradually. Not only that, they fulfill all norms of grammar at the same time. Explaining how Dikshitar's compositions stand classified as Tiruttani, Sri Mahaganapathi, Tiruvaarur Thyagaraja, Neelotpalamba, Kamalaamba and Abhayaamba Navaavarna he elaborated as to how the Sthalapuranas, the Yantras and Mantras including the attributes of the deities constitute the lyrical content in Sanskrit.
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