The force that sustained the philosophical depth of Tyagaraja’s kirtanas was succinctly captured by vidwan T.K.V. Ramanujacharyalu, a violinist-turned-vocalist, in his concert as part of the Rasanubhava series of Sri Krishna Gana Sabha.
What was wonderful about the exposition was that the songs took the listener to a higher plane and provided glimpses of the spiritual mind of Tyagaraja. For the duration of the programme, at least, there was reciprocity to feel deeply that Tyagaraja’s compositions were not meant to just entertain, but to illuminate the path of devotion.
The main plank of the saint’s inspiration was touched upon at the beginning by the rendering the kirtana in Balanasa “Ika Kaayalasina Demi Manasa Sukhamuna Nundava Demi.” The saint asks his own mind, “Why are you not happy and what more do you want?” The anupallavi lines gives the reason for this question: “When the Lord of all the Universe is residing in your heart, why are you not happy?” The message is clear and bold: Happiness has to be sought in the heart.
Highlighting sentiment
The way Tyagaraja strengthened this truth with his superb sangita and all-pervasive desire to serve Lord Rama, formed part of the rest of the programme. As for the route to devotion through music, Ramanujacharyalu selected ‘Sobillu Saptaswara’ (Jaganmohini) and ‘Mokshamu Galada’ (Sarumati). Constant hearing of these two songs enabled the listeners to understand their importance.
The qualities that stand out in Rama’s greatness was collated in the song ‘Oka Mata Oka Bhanamu Oka Patnivratude’ (Harikhambodi).
As with all devotees, Tyagaraja too aspires to be near Rama. This was presented through ‘Bandureeti’ (Hamsanadam) and ‘Chentane Sada’ (Kuntalavarali). He provided the meaning to the sahitya, word by word.
The weighty piece of the recital was ‘Evarimata Vinnavo’ (Khambodi) in which the saint asks Rama on whose words He had stood along.
The recital was marked by freshness both in interpretation of the songs and in highlighting their message. The depth and appeal sprang from the emphasis he placed on the sahitya.
As an accompaniment, the support of violinist Charulata Ramajunam represented musical sensitivity. Her brief alapana of Sarumathi before the song was marked by lyrical cadences. Melakkaveri Balaji (mridangam) and Anirudh Atreya (ganjira), subdued while playing for songs, let their prowess speak in the tani.
