Why Tyagaraja?
I read with amazement the article ‘Tyagaraja-Jazz suite’ (June 22) by M.V. Ramakrishnan. The line of thought was a revelation. More so the confidence of the author in his ability to understand what constitutes pollution and what constitut
es progress in classical music. Even more so his ability to translate for us Thyagaraja’s reactions to various aspects.
One should accept the fact that perhaps Tyagaraja was as much a devotee of music as of Lord Rama, if not more. He was a Nadopasaka. He could have just sung all Utsava Sampradaya songs or kirtanas in the Divyanama format and been done with expressing his devotion. Why the elaborate kritis in a variety of ragas and talas and eduppus? We have three schools of sishya paramparas of Thyagaraja. Can we yet say with authority that a kriti must be sung only in a particular way?
Muthuswami Dikshitar and Syama Sastry appear to have suffered less though they have also not been spared entirely. Do we know for a fact that Thyagaraja did not sing alapanas? Or that he condemned swara singing? In aradhanas, we refrain from doing so because it is not a forum to display one’s virtuosity.
Today the world is aware of Tyagaraja Aradhana in Tiruvaiyaru thanks to the media attention it merits. While I cannot entirely disagree on the demerits, the positives do outweigh them.
I fail to see the logic behind the thought process of the article. Why Tyagaraja? Western music regards its classical pieces as sacrosanct. Are we as catholic in our outlook as to mutilate any classical form that has come to us in its beautiful form for the sake of appearing innovative? And what is innovation? We need not go back to Tyagaraja for understanding this. Anything that will stand the test of time, will. What harm will be done to Carnatic music if some musicians visualise a performance called Tyagaraja-Jazz Suite? Now, what good will be done to Carnatic music if some musicians visualise a Tyagaraja-Jazz Suite? Are we doing Thyagaraja a service? Or are we doing Carnatic music a service?
There already are some musicians who claim to be reaching for their roots and taking such liberties with our kritis. The less said the better of these attempts. In all my travels abroad and interaction with musicians and audiences, they have never failed to appreciate a full blooded Thodi or Kharaharapriya. Again, why Tyagaraja? We can always compose lyrics and songs to suit the occasion and set it to any kind of music — Jazz or funky. I’m sure Thyagaraja will not mind that.
VIJAYALAKSHMY SUBRAMANIAM
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