Garga Sudha Rasa - Sunil R.Gargyan
Garga Sudha Rasa
The nice thing about watching concerts online is that I have managed to listen to a few artistes whose name I have been hearing but have been unable to go for their kutcheris.
One such person is a youngster Sunil Gargyan, who has learnt music from Nagai S. Bashyam and P. B. Shrirangachari initially and later from none other than P.S. Narayanaswamy.
I listened to him recently during the online kutchery series by Mani Krishnaswamy Academy and what I saw a young lad with a sweet disposition & a sweeter voice !
He started the concert with a shlokam which was a thaniyan about 46th Jeeyar of Ahobila Mutt. Thaniyan is an invocatory verse of glorification to an Acharya which is usually composed or submitted by a sishya. Having made an auspicious beginning he commenced the concert with a Thyagaraja krithi in Ragam Mayamalavagowla ‘Tulsi Dalamulache’ set to Rupaka Thalam. I had first heard this sung by the legendary M. S. Subbulakshmi.
Both Thyagaraja Swamy & M.S. Subbulakshmi were and continue to be legends of ALL time .....atleast the world thinks so. Ofcourse some individuals like Kamalahasan & T.M. Krishna may have other views.
In this song Thyagaraja Swamy says : I shall ever be worshiping with joy the Transcendental Lord, the personification of righteousness, the prince of Ayodhya, with tender tulasi, which are sacred basil leaves. I shall garland Him with fragrant flowers like the lotus, punnaga, champaka, jasmine & lily. The Lord also is happy with just a leaf offered with complete devotion. Even in the Bhagavadgita Gita this is expressed by the Lord himself. Such a song has to be sung with devotion and Sunil lent his best to give that effect.
The next was a Kanakadasa composition in Ragam Begada set to Rupakam thalam ‘Lokabharithano’. Now, if Purandasa’s compositions are rarely sung in concerts then Kanakadas’s compositions are hardly sung, so it was pleasant to see Sunil sing this.
Kanakadasa (1509-1609) whose original name was Thimmappa Nayaka was a Haridasa, a renowned composer and philosopher. He is known more for his Ugabhoga along with his keerthanas where he used simple Kannada language and native metrical forms for his compositions.
There are many stories associated with Kanakadasa but the most famous one was a happening at Udupi. Following the instructions of his Guru Vyasaraya Swamiji he had come to Udupi. But it was an era when discrimination on the basis of caste was at its peak and the Brahmin priests would not let him enter the temple as he was from a lower caste, inspite of Vyaasaraaya Swamiji asked them to let Kanakadaasa into the temple. Though upset, Kanakadaasa sat outside the backside of the temple meditating & singing songs in praise of Lord Krishna. Those who have visited Udupi would notice that the deity faces the west. It is believed that when Kanakadasa was outside the temple for days waiting to be allowed to go into the temple and see God, a spectacular incident took place. They say, he was pining & singing kirthanas when miraculously the deity turned around to face the west side wall which was the backside of the temple where Kanakadasa was and the outer wall cracked and he was able to see his Lord. This left the orthodox community flabbergasted and realising that the Lord will reach out to only pure devotion and ever since, Sri Krishna's deity has been facing west, though the main entrance is east-facing. Today that window (commonly called ’ Kanakana Kidiki’ ) stands as a tribute to Kanakadaasa. Devotees who visit the temple, try to have a darshan of Lord Krishna through this small window seeking to re-live the ecstasy where Kanakadaasa had when having the divine ‘darshan’. It is also testimony to the eclectic Hindu belief that devotion, poetry, and sainthood are above caste and creed.
Sadly this kind of stupid & rigid mindset hasn’t changed in so many centuries...... we still have the Guruvayur Devasom not allowing Yesudas inside the temple. Isn’t Udupi Krishna and Guruvayurappan one and the same ? Haven’t they heard of this story of Kanakadasa ?
There was a request from the listeners’ end which was rendered most confidently by Sunil. The request was Thyagaraja Swamy’s composition in Ragam Shubhapantuvarali ‘Ennalu Oorake’, set to Misra Chapu thalam. Here Thyagaraja taunts his Lord Rama, asking him ‘How long are you going remain unconcerned about your Thyagaraja?‘
The beauty of this kind of Bhakti or devotion is not slavery but a variety of relationships rolled together.
This song was also Sunil’s main piece where his hard work and the advantage of acquiring good teachers was displayed.
Then came one of my favourite songs ‘Saagavaram Arulvai’ in Ragam Varamu composed by Subramanya Bharati.
This particular song is a tribute to Lord Rama. Bharatiyar asked the lord for immortality in physical form. But he got it in spirit that lasts forever for generations to come.
What followed was a Telugu composition ‘Dhannyudevaddo Dasharathe’ by Patnam Subramanya Iyer in Ragam Malayamarutham set to Adi thalam.
Patnam Subramanya Iyer (1845 - 31st July 1902) left behind almost 100 compositions.
Subramaniya Iyer was born in Thiruvaiyaru in Thanjavur district but moved to Chennapatnam, today’s Chennai. This gave Subramaniya Iyer the prefix to his name. Many of his students such as Mysore Vasudevachar, Poochi Srinivasa Iyengar, Bhairavi Kempegowda and Tiger Varadachari became famous composers and vocalists.
Two of his famous compositions are ‘Raghuvamsha Sudha’ in Ragam Kadana Kuthuhalam and Evari Bodhanna in Ragam Abhogi. It is said the Ragam Kadana Kuthuhalam which has western notes, is invented by Patnam Subramanya Iyer.
Sunil’s next song was Dikshitar’s ‘Sri Mathrubootham’ in the Ragam Kannada set to Misra Chapu thalam. This again was rendered very sincerely by Sunil. This song was about the Thayumanavar temple in Trichy and most people are aware of the story that goes with this temple....How Lord Shiva himself came in the form of a pregnant girl’s mother and helped during the delivery since the mother could not arrive on time !
Another not so often heard Dikshitar composition was ‘MayeTvam’ in Ragam Tarangini set to Adi thalam. This is a rare Sanskrit krithi by the genius composer, was a special song in D.K. Pattammal’s repertoire deserves mention for rich ‘Sahityam’ which is rich in both poetic beauty & philosophical content. The song is addressed to Goddess Maya or the illusionary force, which causes human suffering, which keeps us bound to the material world and emotional entanglements, as result proving to be a hurdle in our spiritual enlightenment ! Dikshitar asks ‘Maya’ to go away and not trouble him further. Each of the 3 Charanams are unique in their own way.... the 1st Charanam for every word rhymes with one and another, the 2nd Charanam for its musical arrangements of the syllables using ‘goppucha yati’(meaning like a cow’s tail ... broad to start with then gradually tapering). The 3rd Charanam has the Rāga Mudra and the Vaggeyakara Mudra and also reaches the highest note at ‘guruguhodaye’, making it a remarkable composition if well delivered.... which Sunil did !
He went on to sing an Ugabhoga set in ragamalika as a Viruttam, in the Ragams Shanmukhapriya, Kaapi, and Hamir Kalyani this was very wonderful and continuing with a Vijayadasa’s composition in Hamir Kalyani ‘Guru Purandaradasare’ set to Misrachapu thalam.
It was pleasant that Sunil chose Vijayadasa’s krithi because singers often don’t choose beyond the compositions of the Trinity.
Sri Vijaya Dasaru (1682 AD – 1755AD) holds a very revered status among the Madhwas. Sri Purandara Dasaru had composed 4,75,000 Devaranamas and he had ordained his youngest son to be reborn as Vijaya Dasa and compose the balance 25000 Devaranamas, to complete 5,00,000 dasa padhagalu. These numbers are astounding leaving one wondering if the likes of Purandara did anything besides composing & singing !
All his devarunamas and other compositions carried the signature ‘Vijaya Vittala’.
Having sung almost all composers barring Shyama Sastri, he next choice was a Swathi Tirunal’s composition in Ragam Neelambari
‘Kanthanodu Chennu’ set to Rupaka thalam.
This song is a Padam in Malayalam, which expresses the sorrow that pervades the heart of a young damsel, who is in love with Lord Krishna. She thought her beloved would come and stay with her. Not having that pleasure she sends a young friend of hers as a messenger to go and convey her misery to her beloved. She wants her friend to convey the message ‘gently and sweetly’ so that her beloved won’t be offended. The love affair is all in her mind which she thinks is real and this makes her miserable.
These emotions were well conveyed by Sunil, ofcourse Ragam Neelambari by itself has that effect.
Towards the end before the ‘Mangalam’ Sunil sang ‘Vandematram’ in the best suited Ragam Desh.
On the whole the concert was satisfactory almost as good as a live concert sans accompaniments. What is to be seen is the consistency and skill improvement from Sunil’s side.... after all he has an advantage of being young !
One such person is a youngster Sunil Gargyan, who has learnt music from Nagai S. Bashyam and P. B. Shrirangachari initially and later from none other than P.S. Narayanaswamy.
I listened to him recently during the online kutchery series by Mani Krishnaswamy Academy and what I saw a young lad with a sweet disposition & a sweeter voice !
He started the concert with a shlokam which was a thaniyan about 46th Jeeyar of Ahobila Mutt. Thaniyan is an invocatory verse of glorification to an Acharya which is usually composed or submitted by a sishya. Having made an auspicious beginning he commenced the concert with a Thyagaraja krithi in Ragam Mayamalavagowla ‘Tulsi Dalamulache’ set to Rupaka Thalam. I had first heard this sung by the legendary M. S. Subbulakshmi.
Both Thyagaraja Swamy & M.S. Subbulakshmi were and continue to be legends of ALL time .....atleast the world thinks so. Ofcourse some individuals like Kamalahasan & T.M. Krishna may have other views.
In this song Thyagaraja Swamy says : I shall ever be worshiping with joy the Transcendental Lord, the personification of righteousness, the prince of Ayodhya, with tender tulasi, which are sacred basil leaves. I shall garland Him with fragrant flowers like the lotus, punnaga, champaka, jasmine & lily. The Lord also is happy with just a leaf offered with complete devotion. Even in the Bhagavadgita Gita this is expressed by the Lord himself. Such a song has to be sung with devotion and Sunil lent his best to give that effect.
The next was a Kanakadasa composition in Ragam Begada set to Rupakam thalam ‘Lokabharithano’. Now, if Purandasa’s compositions are rarely sung in concerts then Kanakadas’s compositions are hardly sung, so it was pleasant to see Sunil sing this.
Kanakadasa (1509-1609) whose original name was Thimmappa Nayaka was a Haridasa, a renowned composer and philosopher. He is known more for his Ugabhoga along with his keerthanas where he used simple Kannada language and native metrical forms for his compositions.
There are many stories associated with Kanakadasa but the most famous one was a happening at Udupi. Following the instructions of his Guru Vyasaraya Swamiji he had come to Udupi. But it was an era when discrimination on the basis of caste was at its peak and the Brahmin priests would not let him enter the temple as he was from a lower caste, inspite of Vyaasaraaya Swamiji asked them to let Kanakadaasa into the temple. Though upset, Kanakadaasa sat outside the backside of the temple meditating & singing songs in praise of Lord Krishna. Those who have visited Udupi would notice that the deity faces the west. It is believed that when Kanakadasa was outside the temple for days waiting to be allowed to go into the temple and see God, a spectacular incident took place. They say, he was pining & singing kirthanas when miraculously the deity turned around to face the west side wall which was the backside of the temple where Kanakadasa was and the outer wall cracked and he was able to see his Lord. This left the orthodox community flabbergasted and realising that the Lord will reach out to only pure devotion and ever since, Sri Krishna's deity has been facing west, though the main entrance is east-facing. Today that window (commonly called ’ Kanakana Kidiki’ ) stands as a tribute to Kanakadaasa. Devotees who visit the temple, try to have a darshan of Lord Krishna through this small window seeking to re-live the ecstasy where Kanakadaasa had when having the divine ‘darshan’. It is also testimony to the eclectic Hindu belief that devotion, poetry, and sainthood are above caste and creed.
Sadly this kind of stupid & rigid mindset hasn’t changed in so many centuries...... we still have the Guruvayur Devasom not allowing Yesudas inside the temple. Isn’t Udupi Krishna and Guruvayurappan one and the same ? Haven’t they heard of this story of Kanakadasa ?
There was a request from the listeners’ end which was rendered most confidently by Sunil. The request was Thyagaraja Swamy’s composition in Ragam Shubhapantuvarali ‘Ennalu Oorake’, set to Misra Chapu thalam. Here Thyagaraja taunts his Lord Rama, asking him ‘How long are you going remain unconcerned about your Thyagaraja?‘
The beauty of this kind of Bhakti or devotion is not slavery but a variety of relationships rolled together.
This song was also Sunil’s main piece where his hard work and the advantage of acquiring good teachers was displayed.
Then came one of my favourite songs ‘Saagavaram Arulvai’ in Ragam Varamu composed by Subramanya Bharati.
This particular song is a tribute to Lord Rama. Bharatiyar asked the lord for immortality in physical form. But he got it in spirit that lasts forever for generations to come.
What followed was a Telugu composition ‘Dhannyudevaddo Dasharathe’ by Patnam Subramanya Iyer in Ragam Malayamarutham set to Adi thalam.
Patnam Subramanya Iyer (1845 - 31st July 1902) left behind almost 100 compositions.
Subramaniya Iyer was born in Thiruvaiyaru in Thanjavur district but moved to Chennapatnam, today’s Chennai. This gave Subramaniya Iyer the prefix to his name. Many of his students such as Mysore Vasudevachar, Poochi Srinivasa Iyengar, Bhairavi Kempegowda and Tiger Varadachari became famous composers and vocalists.
Two of his famous compositions are ‘Raghuvamsha Sudha’ in Ragam Kadana Kuthuhalam and Evari Bodhanna in Ragam Abhogi. It is said the Ragam Kadana Kuthuhalam which has western notes, is invented by Patnam Subramanya Iyer.
Sunil’s next song was Dikshitar’s ‘Sri Mathrubootham’ in the Ragam Kannada set to Misra Chapu thalam. This again was rendered very sincerely by Sunil. This song was about the Thayumanavar temple in Trichy and most people are aware of the story that goes with this temple....How Lord Shiva himself came in the form of a pregnant girl’s mother and helped during the delivery since the mother could not arrive on time !
Another not so often heard Dikshitar composition was ‘MayeTvam’ in Ragam Tarangini set to Adi thalam. This is a rare Sanskrit krithi by the genius composer, was a special song in D.K. Pattammal’s repertoire deserves mention for rich ‘Sahityam’ which is rich in both poetic beauty & philosophical content. The song is addressed to Goddess Maya or the illusionary force, which causes human suffering, which keeps us bound to the material world and emotional entanglements, as result proving to be a hurdle in our spiritual enlightenment ! Dikshitar asks ‘Maya’ to go away and not trouble him further. Each of the 3 Charanams are unique in their own way.... the 1st Charanam for every word rhymes with one and another, the 2nd Charanam for its musical arrangements of the syllables using ‘goppucha yati’(meaning like a cow’s tail ... broad to start with then gradually tapering). The 3rd Charanam has the Rāga Mudra and the Vaggeyakara Mudra and also reaches the highest note at ‘guruguhodaye’, making it a remarkable composition if well delivered.... which Sunil did !
He went on to sing an Ugabhoga set in ragamalika as a Viruttam, in the Ragams Shanmukhapriya, Kaapi, and Hamir Kalyani this was very wonderful and continuing with a Vijayadasa’s composition in Hamir Kalyani ‘Guru Purandaradasare’ set to Misrachapu thalam.
It was pleasant that Sunil chose Vijayadasa’s krithi because singers often don’t choose beyond the compositions of the Trinity.
Sri Vijaya Dasaru (1682 AD – 1755AD) holds a very revered status among the Madhwas. Sri Purandara Dasaru had composed 4,75,000 Devaranamas and he had ordained his youngest son to be reborn as Vijaya Dasa and compose the balance 25000 Devaranamas, to complete 5,00,000 dasa padhagalu. These numbers are astounding leaving one wondering if the likes of Purandara did anything besides composing & singing !
All his devarunamas and other compositions carried the signature ‘Vijaya Vittala’.
Having sung almost all composers barring Shyama Sastri, he next choice was a Swathi Tirunal’s composition in Ragam Neelambari
‘Kanthanodu Chennu’ set to Rupaka thalam.
This song is a Padam in Malayalam, which expresses the sorrow that pervades the heart of a young damsel, who is in love with Lord Krishna. She thought her beloved would come and stay with her. Not having that pleasure she sends a young friend of hers as a messenger to go and convey her misery to her beloved. She wants her friend to convey the message ‘gently and sweetly’ so that her beloved won’t be offended. The love affair is all in her mind which she thinks is real and this makes her miserable.
These emotions were well conveyed by Sunil, ofcourse Ragam Neelambari by itself has that effect.
Towards the end before the ‘Mangalam’ Sunil sang ‘Vandematram’ in the best suited Ragam Desh.
On the whole the concert was satisfactory almost as good as a live concert sans accompaniments. What is to be seen is the consistency and skill improvement from Sunil’s side.... after all he has an advantage of being young !
About the Author:
Sandhya Shankar belongs to a well respected business family in Chennai. She is a Life Skills & Corporate Trainer by profession. She is an avid reader and a natural writer, who has written several poems and articles. She even presented her poems as a reading at the British council. She has keen interest in all art forms and has explored many different forms of painting like stained glass and Tanjore being among them.
Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.
(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)
Sandhya Shankar belongs to a well respected business family in Chennai. She is a Life Skills & Corporate Trainer by profession. She is an avid reader and a natural writer, who has written several poems and articles. She even presented her poems as a reading at the British council. She has keen interest in all art forms and has explored many different forms of painting like stained glass and Tanjore being among them.
Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.
(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)
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