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Tyagaraja Sangeeta Yoga Vaibhavam A presentation by Dr. V. V. Srivatsa & Party |
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Carnatica's Sangeetanubhava series was revived on Feb. 8th 2004 at the Mylapore Fine Arts Club auditorium, in association with Sri Parthasarathy Swami Sabha. It was a tribute to Saint Tyagaraja, in a thematic presentation led by Dr. V. V. Srivatsa, titled "Tyagaraja Sangeeta Yoga Vaibhavam". The presentation focused on the bard's compositions and contributions related to nada vidya & sangeeta shastra. Here is a brief synopsis about the theme, written for Carnatica, by Dr. Srivatsa himself: Music is an aesthetic configuration of sounds, rendering aural satisfaction. Music is not mere entertainment or an art, it is a system based on audio-efficacy and sound-efficacy. The primordial sound is naturally produced by the fusion of air and heat in the Moolaadhaara Chakra of the human anatomy - this is Naada. Amongst the seers who conducted an in-depth study of Naada and the resultant Sangita, Sadguru Tyagarajaswami holds pride of place. He has expressed his views in several compositions, which constitute the core of the presentation "Tyagaraja Sangeeta Yoga Vaibhavam". Sangeeta was derived from the Sama Veda, (Modakara nigamottama sama veda saram) and is granted the status of an Upa Veda. Vedas are based on Maantreeka - the efficacy of sound and so is Sangeeta. It is the amelioration and refinement of Naada that manifests as Sangeeta. Tyagaraja distinguishes between Naada and Sangeeta. Naada's excellence leads to bliss: "Naada loludai brahmananda mandave". Naada produced in humans is like nectar: "Naada sudha rasam bilanu nara krutya". Naada produced in the Moolaadhaara Chakra: "Moolaadhaaraja naada meruguverte mudamuku mokshamu". Tyagaraja also delved deep to understand esoteric values of Naada: "Naada vidya marmambulu telisi". The Naada produced in the Moolaadhaara moved upwards to become Dhwani: "Naabhi hrut kantha rasana naasaadulato". Audible sounds are melodious but unheard sounds are divine. The sapta-swaras are finite sounds and conjoin and combine to form Sangeeta. Sangeeta is a combination of Raga and Laya: "Vara raga laya". Laya by itself has beauty which can be discerned and divined from playing percussion instruments. Tyagaraja revelled in such beauty, as can be visualized from his composition "Sogasuga mridanga talamu". Assimilation of nuances of a raga is ethereal: "Raaga sudhaa rasa paanamu jesi". Sangeeta is shaastra - an empirical science, to Tyagaraja. Its practice in a proper manner can lead you to a high state of bliss, well above the saaroopya state: "Saaroopya sowkhyamu adhame". Real knowledge of Naada and Sangeeta releases you from all bondage. Even divinities are self-practitioners of Naada: "Naadopaasanache Shankara Narayana Vidulu". Deliverance is assured to one who learns the truth about the meaning of music and enjoys it too: "Geethaarthamu Sangeethaanandamu". Tyagaraja's Ishta-Deva, Rama was adept at Sangeeta, which was explicitly stated by Valmiki. Tyagaraja extols the virtues of Rama as "Gana Lola", "Sangeeta Priya", "Raga Rasika Raaga Rahita", and "Sangeeta Sampradaayakudu". Knowledge of music should be laced with devotion and only then will lead the aspirant to the right path: "Sangeeta jnaanamu bhakti vinaa sanmaargamu galade". Divine grace apart, "Daata Vraaya" apart, conscious effort by the practitioner is called for, so says Tyagaraja. He exhorts himslef to do Sangeeta Upaasana: "Shripapriya sangeeta upaasana cheyave". This is the gist of the Sangeeta Yoga Vaibhava of Tyagaraja Swami, who has referred to Naada and Sangeeta in 35 compositions. Dr. Srivatsa was supported in his presentation by a line-up of noted musicians - S. Sowmya, Vasundhara Rajagopal, Carnatica Brothers (Shashikiran & Ganesh), Nisha Rajagopal & Sikkil Gurucharan - each of whom portrayed the compositions referred to by Dr. Srivatsa. Usha Rajagopal lent violin support while K. V. Gopalakrishnan & Srikrishnan played the mridangam. The compositions presented were:
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