The Thyagaraja Pancharatnas - Five Priceless Gems
The Aradhana season is on and all Sabhas all over the world are organising festivals and erecting pandals for Pancharatna Kriti rendition. One feels that familiar thrill and joy participating in this once more. It's something that's so much looked forward to.
The Shanmukhananda Fine Arts and Sangeeta Sabha held a grand function on Sunday, the 22nd of Janurary, 2006, to mark the auspicious occasion. There was the usual excitement, flurry of activity and most of all, the attitude of bhakti or devotion among one and all present there. Noted artist, Shri.T.N.Seshagopalan, had conducted a seven day Harikatha session prior to the event and he too participated on the said occasion.
As one sang the Pancharatnas, one yet again realized the true significance and greatness of the event. Inspite of today's existing commercialism and very harried lifestyles of people, there's a definite camaraderie to be seen among everyone present there. It's the only occasion where the teacher and the taught sit together, as equals, and pay tribute to the great Saint. All artists, right from the novice to the expert, to the stalwart, assemble as one, to pray to the bhakta of Rama, who is regarded as an avatar of Narada himself. In an age where everyone is generally rushing around to get somewhere in life, it is truly astounding to see all coming together at one time, to celebrate one event such as this.
The Pancharatnas, apart from being very beautiful pieces, are also technically very perfect in every sense of the word. They are a beacon of light to anyone who would be eager to delve deeper into the world of music and gain wisdom from it. These five priceless gems contain a hidden blueprint to manodharma sangita, which is a very important part of our music.
Firstly, the sangatis, which develop gradually in the Pallavi and Anupallavi, help one to get into the raga and get involved in the rendition as a whole. Further, the swaras in the Charana clearly show the path towards development of swara kalpana. It teaches the right method of approach to the subject and how it is to be handled. It also contains vadi-samvadi prayogas, janta and dhatu prayogas, ranjaka and apoorva prayogas, nyasa, amsa swaras, their treatment etc.
The style of development is like that of a taana exposition, constant practice of which enables the student of music to improve himself/herself in taana rendition in the future. Instrumentalists learn the fine art of playing the ghana-panchaka taana, or the taana in the five ghana ragas, namely, Naatai, Goulai, Arabhi, Varali and Shri. This is especially important for Vainikas, many of whom play the same during rendition of Ragam Taanam Pallavis too.
The sahitya contains all possible literary beauties and when learnt properly, teaches the student to carefully manipulate breath, so as not to commit Padachcheda,(splitting the sahitya inappropriately).
A detailed study of the life and works of Thyagaraja is a truly humbling experience. The Saint Composer's unfaltering devotion to Rama and his humility and total surrender at The Divine Lotus Feet, teach the student to be humble and surrender to the soothing waves of music engulfing his/her entire being.
Rendering the kritis keeping the spirit of Thyagaraja's devotion in mind, will help the student improve his/her performance and will also enable him/her to improve the general attitude towards music as a whole.
The Shanmukhananda Fine Arts and Sangeeta Sabha held a grand function on Sunday, the 22nd of Janurary, 2006, to mark the auspicious occasion. There was the usual excitement, flurry of activity and most of all, the attitude of bhakti or devotion among one and all present there. Noted artist, Shri.T.N.Seshagopalan, had conducted a seven day Harikatha session prior to the event and he too participated on the said occasion.
As one sang the Pancharatnas, one yet again realized the true significance and greatness of the event. Inspite of today's existing commercialism and very harried lifestyles of people, there's a definite camaraderie to be seen among everyone present there. It's the only occasion where the teacher and the taught sit together, as equals, and pay tribute to the great Saint. All artists, right from the novice to the expert, to the stalwart, assemble as one, to pray to the bhakta of Rama, who is regarded as an avatar of Narada himself. In an age where everyone is generally rushing around to get somewhere in life, it is truly astounding to see all coming together at one time, to celebrate one event such as this.
The Pancharatnas, apart from being very beautiful pieces, are also technically very perfect in every sense of the word. They are a beacon of light to anyone who would be eager to delve deeper into the world of music and gain wisdom from it. These five priceless gems contain a hidden blueprint to manodharma sangita, which is a very important part of our music.
Firstly, the sangatis, which develop gradually in the Pallavi and Anupallavi, help one to get into the raga and get involved in the rendition as a whole. Further, the swaras in the Charana clearly show the path towards development of swara kalpana. It teaches the right method of approach to the subject and how it is to be handled. It also contains vadi-samvadi prayogas, janta and dhatu prayogas, ranjaka and apoorva prayogas, nyasa, amsa swaras, their treatment etc.
The style of development is like that of a taana exposition, constant practice of which enables the student of music to improve himself/herself in taana rendition in the future. Instrumentalists learn the fine art of playing the ghana-panchaka taana, or the taana in the five ghana ragas, namely, Naatai, Goulai, Arabhi, Varali and Shri. This is especially important for Vainikas, many of whom play the same during rendition of Ragam Taanam Pallavis too.
The sahitya contains all possible literary beauties and when learnt properly, teaches the student to carefully manipulate breath, so as not to commit Padachcheda,(splitting the sahitya inappropriately).
A detailed study of the life and works of Thyagaraja is a truly humbling experience. The Saint Composer's unfaltering devotion to Rama and his humility and total surrender at The Divine Lotus Feet, teach the student to be humble and surrender to the soothing waves of music engulfing his/her entire being.
Rendering the kritis keeping the spirit of Thyagaraja's devotion in mind, will help the student improve his/her performance and will also enable him/her to improve the general attitude towards music as a whole.
posted by Unknown at 1/24/2006 07:41:00 AM
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