WALAJAPET MANUSCRIPTS
Article from Music Academy Journal-1947
Thyagaraja Centenary issue
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THE WALAJAPET MANUSCRIPTS
by
Prof. P. Sambamoorthy
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The Walajapet Collection now housed in the premises of the Sourashtra Sabha, Madura, represents by far the largest private collection of musical manuscripts ever made. The collection includes musical compositions in notation and works on musicology. Manuscripts containing the bare texts of songs from various composers are also included in the collection. Many of these compositions and the works on musicology have not been published so far. A good number of the manuscripts are in Telugu script and a few in the grantha script.
The bulk of this collection evidently formed part of Tyaga- raja’s private library. He himself inherited these valuable manuscripts from his maternal grandfather, Veena Kalahasti Iyer, a Samasthana Vidwan in Tanjore court, and from his guru Sonti Venkataramanayya. A few of his disciples, on account of their proficiency in music, scholarship in Sanskrit and Telugu, and long association with the gTeat composer earned his goodwill and blessings. When they requested their master to be favoured with some of the manuscripts in his library, the great composer generously parted with them. Walajapet Venkata- ramana Bhagavatar became the most favoured sishya in this
regard. With the manuscripts got from the sage oi Tiruvayar as a nucleus, he developed an important library by adding on to it from time to time.
His son Krishnaswamy Bhagavatar, also a disciple of Tyagaraja, further enlarged this collection by valuable acquisitions. Krishnaswamy Bhagavatar*s notebooks containing Tyagaraja’s compositions in notation and the great composer’s biography written by him are also there.
The Walajapet collection has long enjoyed the reputation of being the repository of the maximum number of the saint’s compositions and rightly so. Venkataramana Bhagavatar had a reverential regard for his master and learnt the latter’s compositions with great avidity. At the commencement and conclusion of the notebooks of both the father and the son we invariably come across statements like the following
‘‘Sri Parvati Tyagarajabhyam Namah”
‘‘Sri Tyagaraja Guruswamy Sahayam”
‘‘Sri Tyagaraja Gurucharanaravindabhyam namah”.
The fact that in one of the notebooks, excerpts from the ‘Svararnava’ the famous work which Tyagaraja was privileged to peruse, are reproduced, is proof of the confidence that the Walajapet sishyas enjoyed at the hands of the sage of Tiruvayar.
It is through the late Mr. K. K. Ramaswamy Bhagavatar, son of Walajapet Krishhaswamy Bhagavatar, that 1 first had the rare privilege of perusing tome of those manuscripts. In addition to precious manuscripts relating to Music, the collection included manuscripts on subjects like Ayurveda, Ganita, Jyotisha, Vastu Sastra (house-building), Vyakarana, sacred lore and prosody. During his occasional trips to Madras, Ramaswamy Bhagavatar brought some of these manuscripts and showed them to me. The more I perused them, the more 1 became convinced of their great value. While some of the paper manuscripts are more than a century old, the palm-leaf manuscripts are even older. The notebooks containing the tanas of such acknowledged masters like Sonti Venkatasubbayya, Sonti Venkataramanayya and Govinda Dikshitar are very valuable from the point of view of practical music. It is noteworthy that the tanas are elaborated under the sections: Ayittam, Yeduppu, Muktayi, Udgraham,
PIS. I— lv ] TEE WALAJAPET MAND80BIPI8 H i
116
Makarini, Sanchari, Dvitiya eanchari, Tritiya snnchari, Rishaba athayi, Panchama sthayi, Sthayi tanam, Tiara jati Tanam, Sarva laghu tanam, Dhalu tanam and Pattu tanam.
After the demise of Mr. K. K. Ramaswamy Bhagavatar, there was the danger of some of these manuscripts getting astray or passing into other’s hands. 1 then took up the matter with some of the leading members of the Sourashtra community and appealed to them to conserve the collection. Fortunately for music, steps were taken by the Sourashtra Sabha, Madura, to acquire this collection. They have since done valuable work by separating the musical manuscripts from those relating to other subjects and making the former available to scholars engaged in musical research.
Some of the Manuscripts which slipped away from Walaja- pet before acquisition by the Sourashtra Sabha have since been recovered by them. The thanks of music scholars, musicians and music lovers are due in no small measure to this institution at Madura for the valuable work done for the cause of music.
Brief notes on these Manuscripts Palm-leaf Manuscripts
1. Vyakaranam in Telugu and Sanskrit. It is at the end of this Manuscript that we find a leaf containing the date of birth of both Tyagaraja and Venkataramana Bhagavatar and signed by Kavi Venkatasuri, a disciple of the latter. This Venkatasuri is the author of the Samskrita Nowka Charitram, a beautiful work which has since been published by the Sourashtra Sabha. As stated in the leaf, Tyagaraja was born on the 25th day, of the month Chitra of the Sarvajittu year, (Vaisakha suddha saptami), Kali Era 4866. This day corresponds to 4th May 1767. This date is further corroborated by the Kuttalam Suvadi which contains in addition, full details relating to the horoscope of Tyagaraja. Since the Kuttalam Suvadi was written during the lifetime of Tyagaraja, it is possible that the great composer himself had seen the horoscope reproduced therein with all details and satisfied himself about their accuracy. Tyagaraja, it might incidentally be pointed out, was an expert in Jyotisha. Scholars
THE JOURNAL OF THE UUSIO ACADEMY [VOL. XVIII
like Potti Josier and Kumbakonam Aravamutha Iyengar came to him to etudy Jyotisham alone.
2. Laghu Guru Chhandas—u work on prosody.
3. Contains Lakshana Gitas relating to mela ragas and janya ragas. The current nomenclature for the 72 melas figures herein.
4. Talarnavatn; A treatise on Tala. For the slokas in Sanskrit, Telugu meaning is given.
5. Sangita Ratnakara by Somanathaswamy (This manuscript is in double palm-leaves). This Sanskrit work is different from the famous work of Sarngadeva. It treats of topics like Stri ragas, Purusha ragas, Gayaka doshas, Gayaka Gunas Etc.
6. Devata Natna Mahatmyam.
7. Phala ratna rnalika.
8. Vastu Pustakatnx (Science of housebuilding),
9. Kala Sastram
10. Vaidya grantham.
On pages 126-130 herein we have the Gayatri Kavacham, Navagraha Gayatri, Surya Gayatri, Chandra Gayatri, Rahu and Ketu Gayatris.
11. Contains gitas, chauka varnas, tana varnas and some songs in notation. Dikshitar’s Swaminatha Paripalaya and Ananta Balakrtshna, the lakshana Gita Ravikotiteja in Maya- malavagaula and some kritis ot Syama Sastri are also contained therein.
FTS. I— IV] THE WALAJAPET MANUSCRIPTS 117
Kuttalam Suvadi
This is the famous palm-leaf manuscript containing the texts of Tyagaraja's Kritis. They are presented in the order of the melas and each Kriti contains the name of its raga and tala at the top. This manuscript also contains the biography of the great composer written by his two disciples Tanjore Rama Rao and Walajapct Venkataramana Bhagavatar. At the end of the bio- graphy we find the signatures of the two disciples. Venkataramana Bhagavatar may be styled the Boswell of Tyagaraja,
He was Tyagaraja’8 scribe. Since Rama Rao passed away before the demise of the great composer, it is certain that the whole manuscript including the biographical portion was completed during the lifetime of Tyagaraja. The value of the manuscript is enhanced by the fact that full details concerning the horoscope of Tyagaraja including the Chakras and the planetary positions at the time of his birth are furnished. (This manuscript which formed part of the original Walajapet collection was one of those to slip away and it was luckily acquired by the Saurashtra Sabha from a certain gentleman in Kuttalam. And hence the name Kuttalam Suvadi for this palm-leaf manuscript.^
Paper Manuscripts
Some'are in foolscap size, some in royal size and some in the size of the ordinary exercise-book. The leaves of the older notebooks are of thick hand-made glossy paper. Three of the manuscripts are written upon paper imported from England. The year of manufacture of the paper, the name of the firm as well as the trade mark are clearly seen in the watermark impressions in these foreign papers. Notebooks in blue paper used in the latter part of the 19th century are also found in the collection.
That the kritis of Tyagaraja were recorded in notation by Bishyas even during his lifetime is proved beyond doubt by manuscripts. The manuscripts also afford conclusive proof of the fact that Tyagaraja followed the Kanakangi-Ratnangi nomenclature.
1. A big note book containing the preliminary svara exercises, Alankaras, Sanchari Gitas, Lakshana Gitas, Varnas and Tyagaraja’s kritis in notation.
We also find herein the Jaimini Sutram, Tika. Ganakananda Grantham, mulam and Tika, and Sarvartha Chintamani (a work on jyotisha.)
2. Potana’s Bhagavatam: Used by Tyagaraja for his daily parayana in his latter years. It is bound in red silk and carefully preserved. The writing is like print and is a remarkable specimen of beautiful calligraphy. The thick white foolscap
118 THE JOURNAL OF TEE MUSIO ACADEMY [VOL. XVIII
THE WALAJAPET MANUSCRIPTS 119
paper ia written on both side*. The spade trademark and the years 1823, 1824, 1825 as well as the name of the firm Wise & Co., are clearly seen in the watermark impressions. While the middle part of the manuscript covering the dasama skandham (purva bhaga and uttara bhaga) is written in small characters, the rest of the manuscript is written in bigger characters. The saptama skandham, navama skandham and the ekadasa Skandham are also included in the book.
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Two other notebooks, one entitled Sataratnamahka Puita- kam and the other containing the teat of Tyagaraja's Nowka Charitram are in the same writing as that of the Bhagavatam. Since we know that the above two notebooks are in the writing of Venkataramana Bhagavatar, we have to conclude- that the writing of this Bhagavatam is that of Venkataramana Bhagavatar.
It is possible that the Bhagavatam was written .and presented by Venkataramana Bhagavatar to his Guru on the occasion of the latter’s Shastyabdapurti in 1827. It may be pointed out that Venkataramana Bhagavatar presented Tyagaraja with the picture of Kodandaramaswamy on the occasion of the marriage of the composer's daughter. It was on seeing this picture that Tyagaraja in ecstasy sang the kriti in Mohana raga 'Nannu Palimpa'. The fact that Venkataramana Bhagavatar got back the manuscript of the Bhagavatam is proof that he himself must have written it.
3. Contains about 170 pieces in notation.
4. Contains 29 songs in notation.
5. Contains Jayadeva’s Ashtapadi with Telugu meaning.
6. Containing the Adi Guru stotra Panchakam in praise of Tyagaraja by Venkatramana Bhagavatar beginning with the words, yr$ araireoireoTGUtLi irpqapajr, songs by Venkatasuri with the signature Narasimha Daaa and some slokas in Paisachika bhasha are also contained here.
7. Contains the Prahlada Bhakti Vijayam, the Telugu opera of Tyagaraja and some Kritis of Margadardi Sesha Iyengar.
8. Contains padas of Kshetragna and other composers and also a few Javalis.
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9. Contains the Nowka Charitram of Tyagaraja (called Andhra Nowka Charitram) and the Samskrta Nowka Charitram
MS. I— IV]
120 THE- JOURNAL OF THE MUSIC ACADEMY [vOL. XVIH
of Kavi Venkatasuri. A few BHramara gitas are also found here. (The name Balstom & Co., is found in the watermark impression of the paper in this notebook.)
===========================================================
10. Jayadeva’s Ashtapadi and the Suddha sahityas of many songs are found here.
11, 12. 13
14. Contains the Tanas of Sonti Venkataramanayya, Sonti Venkatasubbiah, Venkata Seshayya and Govinda Dikshitar.
15. Contains the Arohana and Avarohana of 400 janya ragas. The Kanakangi-Ratnangi nomenclature is found here.
16. Contains songs of various composers with notation.
17. Contains songs in the Sourashtra language.
18. This is a blue paper notebook and contains songs in notation.
19. Nirupanas and some songs in notation are found here.
20. Songs for Kalakshepam are found herein.
21. Contains Darus, Padyas and Kirtanas of Ramanuja Dasa.
22. Contains 44 Varnas inclusive of selections from Vina Kuppier, Venkataramana Bhagavatar and Govindasamiayya. An unpublished Varna in Sriraga-Misra jati triputa tala beginning with the words “Sami Ni pada padmamule Chala Namminanu brovu’’ is found herein.
23. Contains Gitas, Pavvalimpu songs and songs of Purandaradasa. For every song the names of the Raga and Tala are invariably given.
24. Contains the texts of the songs of Purandaradasa and Venkata Vittala Dasa.
25. Kshetragna’s padas, Talarnava Slokas, and the Suddha sahityas of some kritis of Tyagaraja are found here.
26. Draupadi Vastrapaharanam and Tamradhvaja Rajula Charitram-two operas in Telugu are contained here.
27. Songs of Purandaradasa and Venkatesa Dasa and some songs in the Sourashtra script are found here.
28. Contains Kritis of Tyagaraja with notation. The kriti Vara Raga Layajnulu in Chenchu Kambhoji raga ia noted here.
A few pages of this notebook are devoted to matter relating to Ganita (Mathematics.)
28. (Extra) contains songs in notation.
29. Contains kritis in notation.
30. Has the heading ‘eavswrc. smaiinb’—evidently concert svaram, meaning thereby lively melodies from European Music. These melodies have sahityas in Sanskrit. These sahityas are by Muthuewamy Dikshitar, and all of them contain the guruguha tnudra.
31. Deals with the Chhandas sastra (Prosody).
32. Siddhanta Siromani. a work in Sanskrit by Rama* chandra belonging to the Alladi Vatnsa.
33. Tyagaraja’s songs in notation in the writing of K. K. Rameswamy Bhagavatar. Unpublished songs of Mysore Sada- siva Rao are also found here.
$4. Songs of Bhadrachala Ramadas. Matter relating to Jyotisha also is found here.
35. ..................
36. Treats of Tala Prastara.
37. Kritis of Tyagaraja in notation are found here.
38. Contains Songs in notation in the writing of K. K. Ramaswamy Bhagavatar.
39. Contains songs in notation. (The rare kriti in Gauri Kalyani raga appiurto esSesti is found here).
40. Gives the Arohana and Avarohana of ragas. Also treats of some Vratas.
41. Contains select kritis with notation.
42. Contains the Kirtanas of Venkata Suri.
43. Contains Tyagaraja's Pancharatnam.
44. Contains unpublished Varnas and Tanas.
45. A foolscap size notebook containing the padas of Kshetragna. For each Pada, the type of Nayaki or other character that sings it, as well as her mental state, is given in the accepted technical parlance. These details are helpful in the eff*etilre rendering of the compositions.
46. Sangitamrita chandrika in Sanskrit.
16
PT8. I—rv] THE WALAJAPBT MANUSCRIPTS 121
47. A foolseape size notebook containing some Varnas and Tanas.
48. Tana pustakam, Tana nigandu, contains Tanas and some songs of Syama Sastri in notation.
49. and 50..............
51. Contains the Nowka Chari tram of Tyagaraja with meaning.
52. A small notebook containing a few songs in notation.
Light thrown on Tyagaraja by the Manuscripts
The materials furnished by the Manuscripts serve to fill the many lacunae in the biography of Tyagaraja. On the practical side they help us to determine the original ragas, versions, tunes and readings in many cases.
In addition to the biography on palm leaf written by Tanjore Rama Rao and Walajapet Venkataramana Bhagavatar already referred to, there is a paper manuscript dealing with the biography of the great composer by Walajapet Krishnaswamy Bhagavatar and giving many details not furnished in the palm leaf manuscript. Further details concerning Tyagaraja’s life and career culled or collected by K. K. Ramaswamy Bhagavatar from various sources are given in another notebook. The more important details furnished by these manuscripts may be briefly referred to.
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At the time of Tyagaraja's birth, both the father and mother had an identical dream and therein they were told that the child to be born was destined to become a Sangita Sahitya Kala Kovr dudu, that he is coming with the amsa of Narada, Valmiki and Sarada and also that the child should be named after the presiding deity of the plaee i. e. Tyagaraja of Tiruvarur.
During his 5th year, Tyagaraja was seized with an acute disease and the parents feared that it might prove fatal. Their sorrow was accentuated by the fact that the two sons born prior to him, were unpromising and not worthy of the family noted for scholarship. But a Sanyasi, who casually came to visit Rama Brahmam at that time, assured him that the boy will soon recover and that he was destined to become as famous as Jayadeva and Purandaradasa.
122 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII
PTB. I— IV] THE 'WALAJAPET MAfTOBCBlPTS 129
The Upanayanam of Tyagaraja was performed in his 8th year, and his marriage took place in his 18th year. By a cruel fate the wife was snatched away during the 5th year of his married life and he married her sister shortly afterwards. The first wife was named Parvati and the second Kamala. Out of prema, the second wife was bIbo called Parvati. The name of Tyagaraja’s mother was Sitamba. The following sloka found in the biography may be of interest.
stffpmhur &rug}irpriu uirirai$ su><2eo0e : (?) ptSutrfr tuir erviiiL/^iruj yrg /stuirsirirggiriu us tits err w II Early in his life, he had digested all the works on Musicology. He had access to many works which are now lost to us. The Sangita Ratnakara, Nsradiyam and a work treating of 72 meladbi- karas and the Svararnava were amongst the works perused by him.
The Genealogy of his family.
Panchanada Brahmam
Sadasiva Sadananda Sachidananda Bala Giriraja
Brahmam Brahmam Brahmam Brahmam Brahmam
(Also had 5 sons)
Rama Brahmam
(Married Sitamba). ^
I
1 1 1 Panchanada Panchapakesa Tyagaraja
Brahmam Brahmam Brahmam.
Giriraja Brahmam was also called Subramanya Bharati. Ramabrahmam had his Upadesa and Rama nama sutra from Sri Sadguruswamy of Marudanallur. In his turn he gave the Taraka Mantra Upadesa to hiason Tyagaraja. At the father’s bidding Tyagaraja took to the Puja of the RamavVigraha in the house.
The Yati who gave the Rama Shadakshari Upadesa to Tyagaraja was Sri Ramakrishnananda, a friend of his father. This holy man lived in Tiruvayar and Tyagaraja pays his homage to him in the 3rd invocatory verse, at the commencement of his
opera, Nowka Charitram. The composer had his occasional doubts in musical science cleared by this Yatindra.
Tyagaraja’s first attempts at musical compositions consisted of Divyanama Kirtanas. He wrote them on the blacked walls of his house with chunnam sticks. “Namo Namo Rsghavaya” and “Tava daaoham” were his first attempts. His divya nama kirtanas were also called Bhajana Namavali Kirtanas.
Since Tyagaraja lost his father when he was 20, and since his compositions attracted the attention of his father and other acholars of Tiruvayar, it is certain that his career as a composer began in his teens.
Sonti Venkatramanayya, like his father, enjoyed the privilege of performing in the Darbar Hall on the New Year day (Ugadi Day).
Tyagaraja’s two memorable performances, the first at the Sadas convened by his Guru Sonti Venkatramanayya in Tiruvayar and the second at the sadas convened by Sonti Venkata- subbiah in Tanjore are narrated with colourful details.
Tyagaraja’s mother lived to see the glory of her son. She must have felt a thrill when her son boldly sang the Kriti ‘Nidhi Chala Sukbama’’ as a reply to the tempting offer of Sarabhoji, When Tyagaraja’s brother complained to her of the rejection by Tyagaraja of the royal offer, she took no notice of it.
Tyagaraja’s fame shot up after the 'Nidhichala Sukhama' episode. Members of the Royal household including Moti Rao, the Rajah’s son-in-law and Yatis and scholars, musicians and composers began to attend his Bhajanas. Tyagaraja came to be called Bhuloka Narada.
This very same episode roused the wrath of his elder brother. The Kriti E Papamu (Athana) was composed by Tyagaraja when he was subjected to trouble by his elder brother. The mother passed away after some time i.e., after 1800. The parti* tion of the family property took place after her demise. The house in Tirumanjana Vithi in Tiruvayar wherein Tyagaraja lived was the gift of Tulajaji II to Ramabrahmam. The house was specially built at the royal command and given. The gift
124 THE JOURNAL OF THE MUBIO ACADEMY [VOL. XVII
was coupled with one veli of saivamanyam land in Pasupati- koil.
The contents of the famous Srimukham written by the sage, Upanishad Brahmam of Conjeevaram, couched in respectful language and inviting Tyagaraja to come to Conjeevaram and which letter was responsible for the sage of Tiruvayar undertaking the historic pilgrimage to the north are reproduced. During his trip, Tyagaraja was accompanied by his wife and disciples. Srirangam was the first place visited by him during this trip. He stayed in Srirangam for five days and sang the five pieces in praise of Sri Ranganatha.
When Tyagaraja came to Cpnjeevaram he stayed as the honoured guest of Upanishad Brahmam. Kovur Sundara Mudaliar, a sishya of Upanishad Brahmam, was sent for from Madras. After singing pieces in praise of Kanchi Varadaraja, Tyagaraja came to Madras along with Sundara Mudaliar. He stayed in Madras for six months along with hiB disciples and disciples’ disciples. He stayed in the palatial residence of Sundara Mudaliar at No. 4. Bunder Street, George Town, Madras. While there, he sang the Devagandhari. rags and a Pallavi in it for 8 days, the raga-alapana alone occupying 6 days. With Madras as his headquarters he visited the surrounding places like Tiruvotriyur and Kovur and sang the respective Pancharatnas.
The inspiring details relating to his last moments form a crowning conclusion to the Biography. The Charama slokas relating to Tyagaraja composed by Venkatramana Bhagavatar are also seen in one notebook. The sage that initiated Tyagaraja into Sanyasa asrama on the day prior to his demise was Brah- manandendra Saraswati.
The collection helps to trace the original and correct read, ings of many of Sri Tyagaraja’s Kritis.
1. The sahitya of the anupallavi of Tolijanmamima (Bila•
hari) is it id^jSio ueoGwCSior Ljekriq. sppqpmiQMigs),
2. The Anupallavi of Sive Pahi mam (Kalyqni) begins as t
sQaijrGIggirppir jhreuireffliS.
3. In an old silk-bound notebook wherein the thick leaves bear the watermark impression of 1800 we find the Kriti
Pis. I—IV] TEE WALAJAPET MANUSCRIPTS 126
in Bhairavi raga, “Sri Baghuvara mgunalaya''. Herein, the section beginning with the words Tarana lent is marked as charanam 1. From the prosodical point of view it is clear that this passage is only a charanam. If taken as anupallavi as is generally done now, it will oifend against the rules of prosody, since the letter preceding the Prasakshara in the pallavi is dirgha and in Tarana lent, the latter is hrasva.
At the end of the song, we find it styled PancharatnamaUka• The five charanas of this Bhairavi kriti are set in different dhatus and hence the name PancharatnamaUka. Of the ten kritis with charanas of different dhatus, composed by Tyagaraja, it is possible that Sriraghuvara sugunalaya was the first one.
4. The latter half of the mudra charana of the Kriti, Vinayakuni valenu (Madhyamavati) reads as : ^lupappgg^atl
fkxr^ftaj mQpt jgeuireriii8t oppiriflGavirp,fl, uppfdfi bj$i,
5. The pallavi of “Rama nannu brovara*’ (Harikambhoji) reads as: pru isesrgp uGpiraipir Qculo Qpp QarartS—
6. Of the unpublished or rare compositions in the collection, the following may be referred to:
TYAGARAJA’S.
1. Inka nija bhakti.
2. Sitalakshmana sahitam.
3. Nagumomu Jupavu.
4. Undi erne urvibharamuga.
5. Mutyala chavikalo mudamu miraganu. (Gauri Kal-
yani Raga).
6. Desikavara saranagata vatsala (Divyanama style)—
Saranga—adi.
7. Sari vedalena Parthasaradhini—Todi—Jhampa (This
kriti was composed by Tyagaraja in praise of Parthasarathiswami of the Triplicane temple, Madras, when he was sojourning in the City in the last century).
8. Dhana suta taruni—Kamalamanohari—Adi.
9. P’eridi ninu : Kharaharapriya—Adi.
10. Samayamu yemarake—Kalagada.
11 • Ramaramana barama—Vasanta Bhairavi.
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PTB. I— IV] THE WALAJAPET MANUSCRIPTS 127
12. Emani pogadudura—Kedaragiula—C hapu.
13. Vidhi Sakradulaku dorukuna—Yamunakalyani.
M. Amba Bhishma sute—Ratnangi— Jhampatala.
Of other composers.
O, Manaaa I Yewarake—Ahiri—adi—Virabhadrayya Pahimam Sri RagHunayaka—Begada—Triputa—Margadarai Soshayyangar.
Emammadaya Judavu—Ahiri—MatrubHutayya Elagu daya vaccKuno—Punnagavarali—Mysore Sadaaiva Rao
Sri Narahari veri talakekki—Kalyani—Merattur Venkata* rama Sastri
Bantudaitini parama—Pantuvarali—Merattur Venkatarama Sastri
Totavesivanipudu—Parajii—Merattur Venkatarama Sastri Gajendra varada CHidvilasa—Natakuranji-Adi.
Edaya na mi da daya radaya—Vasanta Gaula—cbapu.
The piece “Ninnuminchina varevaramma (Natakuranji) of Srinivasayya—has a solkattu svaram hitherto not known.
From the collection, we find that the correct ragas of the following pieces are
Krupalavala—Nada tarangini
Ente nerchina enta juchina—Sindhu Dhanyasi.
Nemora betiti—Rupavati Jnanamosagarada—Shadvidhamargini Nichittamu nabhagyamu—Jivantini
The collection throws light on the correct versions of the dhatu of many kritis.
1. The kriti Padcwini (Salagabhairavi) begins with the
phrase
s r m p pa da vi ni
2. The kriti Sangitagnmamu (Dhanyasi) begins with the
phrase S n d p Sangi. , .
128 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII
3. The kriti Sive Pahi mam (Kalyani) begins with the
phrase
G, m P m g r s
si . . ve pa hi mam
4. The kriti Sundari nannindarilo (Begada) begins with
the notes :
pd nd p mp D, p sun dari
5. The kriti Evarito (ManavatiJ begins with the notes:
s r g m
e va ri to
6. The kriti Kotinadulu in Todi begins with the notes
d n s r ko ti na
By far the most valuable manuscript in the collection is the notebook containing excerpts from the Svararnavam, the famous work which Tyagaraja was privileged to peruse and which is referred to in the last charana of the kriti “Svararagasudharasa* (Sankarabharana). It is certain that these excerpts must have been copied from the original palm-leaf manuscript during the life-time of Tyagaraja, since we do not hear of ^this work after his siddhi. An important sloka beginning herein and not found in any other‘work is:
piLi&p : uprear : uprexmpej&Qpr pen ash -J peuesfhaptu sQpr isrp : iBirptApGiu empr&aj ;//
Topics like Nadotpatti, ahata and anahata nada, the three gramas and murehhanas, grama sadharana, Alankaras, Chatu- ranga prastaram, gayaka doshas etc., are treated of here.
For the usual names of the murehhanas (uttaramandra, kalo- panata) etc., of the sa, ma and ga gramas, we find names like Yaksha, Brahma, Airavatam, Indra, Vayu, Gandharva, Surya, Simha, Narada etc.
In the section, Ragaviveka (eroeuprireair&juim^i piseSQtuSQp) we find ragas like Jayanatasri, Kuntalavarali, Saranga kapi and Malinimakarandam referred to. Besides the arohana and avarohana, brief sancharas are also given for ragas like Chenchukambhoji, Vijayasri, Nagasvaravali, Navarasakannada,
THB WALAJAPBT MANUBOBIPT9 129
Saramati, Garudadhvani, Bahudari, Janaranjani, Dilipakam and Suposhini. The ragas are presented in the order of the melas. Kuntslavarali is referred to as ri-ga varja raga and as audava raga. Malini makarandam is referred to as a ga-varja shadava raga (srmpdns-sndpmrs) and as a janya of the 36th mela.
A section in the work is entitled "Svararagasttdharasa gran- tham".
Two of the striking features of Tyagaraja’s eompositions are his numerous compositions in major ragas (as many as 30 in ragas like Todi and Sankarabharana) and compositions in ragas not mentioned by scholars before him. The clue for some of these ragas was got from the Svararnava. The lakshana and melodic individualities of other ragas were determined by a process of musical ratiocination. The Svararnava grantha was a broad palm leaf manuscript and written upon in grantha characters. As it was got from a divine source, Tyagaraja preserved it with great care in his Puja-room. He alone had the privilege of perusing it and occasionally at the request of his intimate disciples, he read portions of the grantha. The Svararnava episode only illustrates the truth of the statement " That whoever is deserving, to him God gives ungrudgingly".
The Mudra charana of the kriti in Sankarabharana “Svararagasudharasa” proves conclusively that Tyagaraja had digested the work "Svararnava".
Some of the slokas of the "Svararnava" were evidently committed to memory by the few privileged sishyas of Tyagaraja and Singaracharlu got them from them and published them in hia Gayaka Lochanam without disclosing the source from whence he got the slokas.
MB. I—IV]
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