The Telugu University's spotlight was on the ‘post-Trinity' vaggeyakaras and their contribution. The university arranged a two-day seminar as part of its Thyagaraja Jayanthi festival. Those who presented papers on the first day were R.N.S. Saileswari of Padmavati Mahila University, Tirupati, Sripati Rajasri of Madras University, Mangalampalli Suryadeepti a noted violinist of AIR and vocalist M. Kamalaramani. Though the standard of the contributed material was not to the expected level, it served to open doors for others to continue study into the later day composers. Veteran violinist and scholar Komanduri Seshadri chaired the sessions on both days and proved a bridge between past and present.
Ramnad Srinivasa Iyengar's contribution was the topic that Saileswary dealt with. Introducing it, Seshadri said that Iyengar's compositions were crisp sans unnecessary experiments. Saileswary said Srinivasa Iyengar had written quite a few Navaragamalika Varnams. His tillanas in Thodi and Yadukulakambhoji were well known, she added. “He also experimented on what he called ‘Tana Tillanas' that had pallavi, anupallavi, sahityam followed by Chollu Kattu (verbal rhythm),” she informed. There was a rare tillana Sumasarajanaka in Kamavardhini set in Ragavardhini Talam. His varnas included in ragas Devamanohari, Narayani, Sourashtra, Hindola and other ragas.
Rajasri presenting a paper on Veena Kuppier and his son Tiruvathuvur Thyagayyer of the Thyagaraja musical hierarchy, said the works of Veena Kuppaier were found in his son Thyagayyer's publication - Pallavi-Swarakalpavalli. She said that Thyagayyer also added his own varnams that were published in Sankirtana Ratnavali (1907).
Mangalampalli Suryadeepti speaking on Maha Vaidyanatha Iyer called him a great singer-composer, unique in his contribution, carrying ‘Lakshya' and ‘Lakshana', direction and grammar. He regards him as the most venerated vaggeyakara after the trinity.
Kamala Ramani, a vocalist, came out with interesting information about Adibhatla Narayana Dasu. “What all Adibhatla sang was nothing but manodharma Sangeetham,” she said. “He created Swarakshara Kritulu, with musical feats in unbelievable tala systems some with 1260 kriyas called Sarvatalatmaka Pancha Datreeka Talamu . He created new swarajaties in Khamas, Dhanyasi and Hemavati and other ragas,” she added.
Second day Premalatha of Venkateswara University, Tirupati, D. Vardhani, N.C. Murthy and Sankara Chandran took part in the second day. Premalatha spoke on Papanasam Sivan, who, she said, came to be known as Abhinava Thyagaraju, for his virulent writing of bhakti and philosophical compositions.
Chevoori Chengalvaraya Sastry is a rarely heard name among the post-trinity composers. D. Vardhani's analysis on his works, was deep and reverential. She said Sastry tread the same path as that of the trinity. He wrote a musical play Sundaresa Vilasam , wrote krities in difficult ragas like Gowlipantu, Poornachandrika, Jhunjhuti, Yamunakalyani and so on. His songs are still heard in temples in Cheyyuru, in Chengalpet,”she said.
N. C. Murthy, a musician, spoke on Valajipeta Venkataramana Bhagavatar and said that he carried the baton of Thyagaraja's legacy to the next generation. He was one of the disciples of Thyagaraja. Sankarachandra Pawan spoke on Swathi Tirunal's contribution and the role of Sanskrit as the language for devotional compositions. And then he explained why Swathi Tirunal chose this language for his compositions.
