Patron-in-Chief
Patron President
Patrons

SRI SWATI

ESTD. 1942

TIRUNAL SANGITA SABHA

REGD. 69 / 58 DIAL471 335

SREE KARTIKA TIRUNAL THEATRE, FORT, THIRUVANANTHAPURAM

PATRONAGE

Her Highness Maharani Kartika Tlrunal Lakshmi Bay!

Sree Padmanabha Dasa His Highness Marathanda Varma
Smt. Radha Devi
Sri C. R. R. Varma
Sri. R. R. Varma

VICE PRESIDENTS

Rajya Seva Nirata Sangria Kalanidhi Gayaka Ratnam
Dr. Semmangudi R. Srinivasier

Dr. M. Sambasivan

Chairman
Vice Chairman
Secretary
Joint Secretary .
Treasurer
Other Members

MANAGING COMMITTEE

Dr. J. Gourikutty Amma

Sri. L. C. R. Varma

Sri. K. N. Sreekumar

Sri. Neyyatinkara Purushothaman

Sri. T. N. Padmanabha Pillai

Dr. M. Velayudhan

Sri. S. Gopalakrishnan Nair

Sri. G. K. Nair

Sri. V. M. Mohan

Sri. P. Ajithkumar

Sri. S. Sooria Narayana Iyer

Dr. S. V. Nayar

Sri. C. Neelakantan

Sri. R. Parameswaran

Sri. N. Suresh

Sri. P. N. Nair

Sri. R. Narayanan

Sri. A. Raveendran Nair

SOUVENIR COMMITTEE

Dr. J. Gourikutty Amma :

Chief Editor

Sri. K. N. Sreekumar

Editor

Dr. M. Velayudhan

Member

Sri. V. M. Mohan

it

Sri. A. Raveendran Nair :

ii

Sri. R. Narayanan

ii

Sri. R. Parameswaran

ti

, ■»»- 'i •

■>:,> .vr<

Computer Type Set: Hi-Tech Computers,

Trivandrum. Ph: 0471-330633 Printed at Ratheesh Printers, Trivandrum i Ph: 0471-331094

y

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

CONTENTS

Foreword

The Year 1 997

Sri Swati Tirunal Centenary Celebrations

Sri Swati Tirunal "A versatile Genius”

Reflections on Education

- Royal Contributions in Modern Travancore

Immortal Royal Composer

The Unique Genius of Kerala

Some "Documentary Evidences” on Sri Swati Tirunal

Sri. S. Vaidyanatha Aiyer

Veena

Triad of Arts

Tal-Vadyas of North India

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cnjjo<o<WI(5jcnog1e)n5 (&6n§ goJOGu^ocDsmac/ft
eortKolccDcruoc^laDo - (Ugtojacmo? (tj)g(ojonmo?
Qcnmsu

Swati Tirunal Varnam
Swati Tirunal Padam

K. N. Sreekumar

Sree Padmanabha Dasa
H.H. Uthradom Tirunal Marthanda Varma

Speech by:

H. H. The Maharaja of Travancore

Dr. B. Gopala Reddi

H. H. Gouri Lekshmi Bayj

T. T. Vasu
Dr. V. S. Sharma
Dr. R. P. Raja
S. Sita Raman
Dr. M. Sambasivan
P.R.S. Money
Prof. Manohar Keskar

6)(oJ0aO: og)CTU. COj<TjflJKT3 CT)0 (Dk 3
$)(oJOna ofl). Oil. trt»B»(DnB

nfl). (owcnoiDojanacnoeofl

Dr. M. Velayudhan

P. Harihara Aiyer
Prof. P. R. Kumara Kerala Varma

Hindustani Musical Compositions of Maharaja Swati Tirunal

184th Sri Swati Tirunal Jayanti - Dance & Music Festival “Programme"

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

IwhUt to' >jp04*V0A4, Qe-4f^>4*4CA4' %

State Bank of Travancore
Canara Bank

Department of Tourism, Government of Kerala
Kerala State Industrial Development Corporation Ltd.
M/s. Aspinwall & Co. Ltd.

K/l/s. S. V. Pandit & Co.

Muktambaram Trust (Regd). Madras
Travancore Titanium Products Ltd.

Hindustan Latex Ltd

Tandem Group of Institutions

Public Relations Department, Government of Kerala

Sri. G. P. S. Nayar

Bank of Baroda (Fort Branch)

Kerala State Electricity Board

Our College (Trivandrum and Kottayam)

Rastra Deepika - Children’s Digest

Swastik Centre for Advanced Studies

National Institute of Computer Technology, Quilon

Lekshmi Jewellery, Fort

Kamala Jewellers, Fort

Sri Saravana Jewellers, Fort

Aar Enn Groups, Manacaud

Ramakrishna Communications

Baba- Studio & Colour Lab

Sarma Medicals, Fort

Sri M. Dominic, Vettucaud

Sri Poojappura Soman Nair

Hi-Tech Computers, Thampanoor

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

FOREWORD

The history of The Sri Swati Tirunal Sangita Sabha is spread over the past 55 years and
more. The Sabha was formed in 1942 to perpetuate the glorious memory of the Royal
composer Maharaja Sri Swati Tirunal. We are proud to say that this institution under the
Patronage of the Royal House of Travancore had now grown into a cultural centre of
international reputation in music, dance and connected arts. Top ranking artists of the
country had all performed here at one time or other. The programmes of the Sabha were
conducted in rented halls till “Sree Kartika Tirunal Theatre”, the auditorium of the Sabha
became a reality in the year 1970. This magnificient edifice noted for its acoustic
excellence, and other amenities is in close proximity to the Sree Padmanbaha Swamy
Temple and this provides spiritual strength and inspiration to the artistes performing
here. Other cultural organisations also consider it a prestige to present their programmes
here and Sree Kartika Tirunal Theatre is a major attraction of the city.

Maharani Sethu Parvathi Bayi memorial reference library of the Sabha containing books,
periodicals and cassettes in music and dance is one of the very few of its kind. New
additions are included every year which is a boon to research scholars, musicologists
and the common music lovers. Steps are taken to procure and preserve in the audio
section the recitals of great vocalists and instrumentalists which form the cream of the
country’s musical genius.

Sri Chithira Tirunal College of Music under the auspicious of the Sabha conducts classes
in vocal, violin, veena, flute, mridangam and thabla. Professors and teachers of high
reputation and long experience impart training to the students for the 6 year Sangeetha
Visharad Course. A special training course in Ragam - Tanam - Pallavi for senior students
and professionals is a prestige of this institution. In addition to the usual classes, guest
lectures by doyens are also arranged.

The Sabha had honoured on appropriate occasions veteran musicians. Sri Aiyakkudy
Ramanuja Iyengar, Sri. Maharajapuram Viswanatha Iyer, Sri. Palghat Mani Iyer, and
Sri. K. S. Narayana Swami are a few to be mentioned. The Title of the Sabha
"GAYAKARATNAM" had been conferred on Dr. Semmangudi R. Sreenivasier Iyer (1 989),
Smt. M. S. Subbu Lakshmi (1990), Sri M. K. Kalyana Krishna Bhagavathar (1991),
Smt. D. K. Pattammal (1992), Dr. M. Balamurali Krishna (1992). Sri K. S. Narayana
Swami (1 993), Prof. Vechoor N. Harihara Subramania Iyer (1 994), Dr. T. K.Murthi (1 994),
Prof. Nellai T. V. Krishnamoorthy (1 995) and Prof. Parassala B. Ponnammal (1 996). This
year the Title will be conferred on the veteran musician Sri. S. Rathnakaran Bhagavathar
at the valedictory function of the 184th Sri Swati Tirunal Jayanthi Celebrations.

■ - ■ - -- - — — — —

r

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

The Sabha conducts regular monthly programmes and festivals namely Sri Swati Tirunal
Jayanthi Dance and Music series, Sri Chithira Tirunal Jayanthi series and the Trimoorthy
Festival. Alongwith stalwarts in the field, opportunities are given to promising upcoming
artistes also. A large number of bio-data and applications pour in every time but we
regret our inability to provide chances to all. The sabha is much fortunate to have members
and other audience, from the time of its inception, who never compromise with quality,
who always accept, appreciate and encourage music in all its pristine purity and who
discourage and reject without hesitation adulterations and acrobatics. We are much
glad that our request to include Ragam-Tanam-Pallavi in concerts is accepted by all
artistes.

The 1 84th Jayanthi of Maharaja Sri Swati Tirunal is proposed to be celebrated from 23rd
April to 2nd May 1 997. This Souvenir is in sacred remembrance of that Royal Composer
who brightened the small state of Travancore by his stupendous achievements in
innumerable channels of activity. Several articles herein project the multifaceted
personality of Sri Swati Tirunal. The short span of his life - 34 years - reads like a glorious
epic of bygone days. Thirty seven Hindustani compositions of the Maharaja included in
this is expected to brighten the academic interest of music lovers.

We make use of this opportunity to pay respects to the Patron-in-Chief, Patron President,
Patrons and all other members of the Royal House of Travancore for their generosity
and guidance in our activities.

We are thankful to our guests for their august presence, artistes for their co-operation,
the well known scholars for contributing articles, the mass-media for providing publicity
and coverage, and M/s. Ratheesh Printers for the excellent Printing.

I personally thank all the Managing Committee members and the staff for their whole-
hearted co-operation in the activities of the Sabha. I am thankful to the teachers of the
Sri Chithra Tirunal College of Music for their moral support.

If this commemorative Souvenir is found a valuable possession by music lovers, our
object is fulfilled.

K. N. SREEKUMAR

Hon. Secretary

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Sree Padmanabha Dasa
H.H. (late) Chithira Tirunal Bala Rama Varma

Maharaja of Travancore

Our Former Patron - In - Chief

H.H. Maharani (late) Setu Parvati Bayi

Our Former Patron

Sree Padmanabha Dasa
H.H. Uthradom Tirunal Marthanda Varma
Maharaja of Travancore

Our Patron President

H.H. Maharani Karthika Tirunal Lekshmi Bayi

Our Patron - In - Chief

SANGEETHA VIDWANS / VIDUSHIS
HONOURED BY THE SABHA BY CONFERRING THE TITLE

“GAYAKA RATNAM

%

Rajya Seva Niratha Sangita Kalanidhi
Dr. Semmangudi R. Srinivasier (1989)

Sri. M.K. Kalyanakrishna Bhagavathar

(1991)

Sangita Kalanidhi Smt. M.S. Subbu Lakshmi

( 1990 )

Sangitha Kalanidhi Smt. D K. Pattammal

(1992)

Sangita Kalanidhi Shri K.S. Narayanaswami

(1993)

Sangita Kalanidhi Dr. M. Balamuralikrishna

(1992)

Prof : Vechoor N. Harihara Subramoma lyer Sangita Kalanidhi Dr. T.K. Murthi

(1994) (1994)

Prof : Nellai T.V. Krishna Murthy

(1995)

Prof : Parassala B. Ponnammal

(1996)

/

Sri. S. Rathnakaran Bhagavathar
(1997 - proposed)

I

VICE PRESIDENTS

Dr. Semmangudi
R. Srinivasier

MANAGING

Dr. M. Sambhasivam

COMMITTEE

OFFICE BEARERS

Chairman Vice Chairman

K.N. Sreekumar
Secretary

Neyyattinkara Purushothaman j ^ Padmanabha Pillai

Joint Secretary Treasurer

MEMBERS

Dr. M. Velayudhan

G.K. Nair

S. Gopalakrishn an Nair

V.M. Mohan

P. Ajithkumar

S. Suria Narayana Iyer Dr. S.V. Nair

C. Neelakantan

R. Parameswaran N. Suresh PN. Nair

(Nominee of
the Patron President)

♦

m

tSffe ISenr 1997

Sree TadmanaBfm 'Dasa !H. 9{. Utfiradom f Iirum£ Martfwnda Varma

The Sri Swati Tirunal Sangita accepted as a composer,

Sabha is the one of the earliest
of the Sabhas in Thiruvanantha-

musician, a musicologist dealing
with six of the languages of India

puram, conceived in 1934 and to sing and by song to show that
became a complete reality in the India is one with a heritage,
year 1942. culture and tradition that

ir1942. culture and tradition that

envefoped the country in amity,

The aim then and now is to

understanding and oneness of

present to the art, music and

Dharma. Above this aspect he

dance loving people of the City a

was a poet; this part of his

forum to enjoy, appreciate and to

pesonaiity is shown up by the

preserve the high and pristine

Bhakthi Manjari, Utsavapra-
concepts of the personage after 1

bandham, and Padmanabha

whom the Sabha takes its

Sathakam. Young in age and full

advent, sustenence and

of ideas and ideals he gave the

progress.

people the observatory, the
An awareness of themselves Museum, the nucleous of an

and of the genius of the one
whose memory is to be kept alive
for the generations to come is the
goal of the Sabha. Maharaja

armed force tiding over the harsh
steps of the foreign power which
disbanded all types of disciplined
forces. His administration was

Swati Tirunal came to take over such that all these matters could

the responsibility of the duties of
his being Sree Padmanabha

be done in spite of constant
interference and galling coercive

Lord; Sree Padmanabha Swamy.
This was his magnificient
obsessbn. His eye for detail was
truly remarkable; codifying the
music, words and melody for the
Temple Utsavams, lilting
melodiously accurate, descriptive

Oasa; as he is to administer steps. Surmounting all these While paying an annual

Travancore in all aspects as a mental and intellectual curbs he homage to Maharaja Swati

servant of Sree Padmanabha shone in all walks of life from his Tirunal it is the bounden goal of

in full detail of the bi-annual
Festivals in the Temple; the
Utsava Prabandham.

Travancore had the distinctbn
of being the first to strike for the
Independence of the State; 50
years before the remembered
1 857. Travancore rose in 1 809.
Struggling against the punitive
measures of the Foreing power
Swati Tirunal was able to, inspite
of all these environments,
maintain, enrich, patronise and
personally add to the wealth of
India's wonderful culture in all its
varied aspects.

While paying an annual
homage to Maharaja Swati

Swamy.

Maharaja Swati Tirunal is

student days to his rulership in
total surrender to his Master, his

all involved to keep aloft his aims
in all its glory.

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

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184tlj J^rt Ji>frratt ‘(Eirmtal 'Q&Q&ntfy

Dance & Music Festival

G.P.S. Nayar

Adarsh
Sasthamangalam
Thiruvananthapuram-6950 1 0

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

SRI SWATI TIRUNAL CENTENARY CELEBRATIONS

‘SPEECH BY

H.H.THE MAHARAJA OFTRAVANCORE

Maharaja Swati Tirunal is one of the most
illustrious of my ancestors, and although a century
has elapsed since his demise the^ glory-of -his-
name and work is not only undimmed but has
acquired a new and larger halo. Today, Swati
Tirunal is not just a memory but a vital element in
the spheres of devotional and musical lore. He
was, so to say, "The man born to be king" and
acclaimed as Garbhasriman. Richly endowed and
instinct with ripe culture as he was, his versatile
gifts made him during his day the cynosure of all
eyes.

On this occasion, however, we are gathered
to celebrate-not the Ruler-but the Royal Author
of Music which will live as long as Carnatic Music
lives. It is hardly necessary for me to say how
both myself and my Government have felt it as a
sacred duty to preserve in print and secure wide
popular currency to the varied musical legacy
Maharaja Swati Tirunal has left behind. In his
time and in the days immediately following, his
music was rendered on appropriate occasions by
contemporaries and their following, and in temple
festivals and social concerts they were in vogue

vocally and instrumental!/ But the passage of time

. j

led to neglect, and text and notation both suffered
unnoticed, and even the authorship was
sometimes forgotten. Let us therefore remember
with gratitude that in His Late Highness's time
pioneer work was done to print and rescue a good
number of his compositions. May I also dutifully
acknowledge the personal interest and
understanding zeal with which my dear mother
has, during the last ten years, laboured to restore
and revivify the music of the great composer? It
is not a small satisfaction to be able to say today
that, with the efforts of scholars like the late Dr.
Muthia Bhagavathar and Rajyasevanirata
Semmangudi Srinivasa Iyer, the Swati Tirunal
Academy has become a recognised institution for
the study of classical music, and the songs of
the divinely inspired bards, Swati Tirunal and
Tyagaraja, Dikshitar and Syama Sastri, are today
carried to the attentive ear, wherever Carnatic
Music is sung, through a gifted and distinguished
galaxy of South Indian singers.

Speech delivered at the Inauguration of Sri Swati Tirunal Centenary Celebrations 1947.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

* SRI SWAT I TIRUNAL
“A VERSATILE GENIUS”

Dr. B. GOPALA REDDI

One hundred and fifty years ago today on April
16, 1813 was born Maharajah Swathi Thirunal.
He ruled over the princely State of Travancore for
some 1 8 years. He was an enlightened ruler who
introduced many progressive measures while
governing his State-loved by his subjects,
respected by the British Administration, envied by
other friendly princes. As princes and Maharajahs
go, he had an enviable record and a good reign.
But posterity remembers him for something totally
different. Swathi Thirunal was a composer-a
composer of music-who ranks with the highest
creative minds India has known in her long and
cherished tradition.

The second half of the eighteenth century
and the first half of the nineteenth century-the
period from about 1 750 to 1 850 constitute a period
of great glory, of great fertility in the history of
Kamatic music. When people talk glibly of the
decline and fall of the Indian traditions in art in the
last two hundred years or so, it is well to remember
this. While wars of conquest and consolidation
were being fought all over the country, while petty
political intrigues and big political conflicts were
being hatched, while the whole social fabric was
crumbling, it is interesting to note that in the

South-in the Cauvery delta, in Kerala, creative
musicians were raising the edifice of Kamatic
music to the highest pinnacles of its glory.

It isn't as if they were fiddling, as Nero did,
while Rome burned. This is only a manifestation
of the resilience of our great cultural tradition which
kept blossoming forth and developing in
unsuspected nooks and corners even against a
background of wars and political upheavals. Three
names are spoken of as the shining lights of this
period and of this cultural movement-Thyagaraja,
Syama Sastry and Muthuswami Dikishitar. They
are known as the Trinity of Kamatic music. Of
late, one more name has been added to those of
the select three-that of Swathi Thirunal.

I said 'of late' because it took a little time
for the outside world to fully comprehend the
range of his genius and his achievement.
Thyagaraja, Muthuswami Dikshitar and Syama
Sastri had many pupils. Therefore even in their
lifetime they acquired big reputation. After their
death their sishyas popularised the masters'
songs, gave them wide currency, so much so that
they soon became part of the mainstream of the
Karnatic tradition. But Swathi Thirunal lived and

Speech delivered on 16-4-1963, by Dr. B. Gopala Reddy who was the. Minister for Information and
Broadcasting, Govt, of India, at the Inauguration of the 150th Birth Anniversary Celebrations of
Sri. Swathi Thirunal, All India Radio.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

died in Travancore, a ruling Prince.

The life of a ruling Prince-busy and yet
sheltered-was not conducive to the creation of a
slshya-parampara. A good many of the musicians
who adorned his court and the many distinduished
visitors who flocked to see him recognised his
genuis and had the measure of his greatness.
But they were too near him to evaluate his musical
greatness objectively, as they were dazzled by
his position and authority, and found It difficult to
place him in his proper musical perspective.

But as the years rolled on, his achievement
as a composer stood out, shorn of Its princely
trappings. It was a major edifice in Its own right
and echoes of it began to be heard outside the
confines of Kerala. Its range was astonishing from
Kritls to Upakhyanas, from Pada-Varnams to
Tillanas, from Sthothras to Javalis.

Some thirty years ago, the Government
of Travancore (as it was then) founded in
Trivandrum the Swathi Thirunal Academy of
Music, an institution for the teaching, of Karnatic
music. Its first Principal was Gayakasikhamani
Harikeshanellur Muthia Bhagavathar. Let us just
call him Muthia Bhagavathar. Muthia Bhagavathar
was an important composer himself and it was
but natural that, living in Trivandrum, his attention
should be drawn more and more to the
compositions of Swathi Thirunal. He began the
systematic collecting and editing of his works,
publishing them in Swara-Lipi, bringing them to
the attention of musicians wherever Karnatic
music was heard and practised. It was a
revelation. When Muthia Bhagavathar died,

Semmangudi Srinivasa Iyer took his place and
has been carrying on the work that his illustrious
predecessor started.

Altogether, over three hundred
compositions have been unearthed so far. And I
am told that they cover about 76 ragas. The vast
majority of these are in Sanskrit; a good many
are In Malayalam; some in Telugu; a few in Tamil
and Marathi. Of compositions in Hindi, there are
some forty. There are two Upakhyanas - and there
are Stothras, Prabandhas.

In spite of all this, Swathi Thirunal's name
is hardly known outside Sourthern India. I feel it
ought to be known all over the country. Not only
his name, but his music; the music even more
than the name. Hence this talk, hence the many
programmes we have planned for this occasion.

One or two things strike me forcibly about
the man and his music. I am not talking as an
expert, much less as an authority. I have no such
pretensions. I am talking as a lover of music.
Other composers devote a life time to music, often
a long life-time. Music, and the pursuit and
creation of music would be their only
preoccupation. But here was a person whose
main vocation in life was to rule over a State-
administer it efficiently and discharge his
responsibilities to his subjects. To say that he
was a great Ruler is not to pay him just an empty
compliment. He undertook a revenue survey and
settlement of the land. He appointed a Trade
Agent at Alleppey, then the principal port of the
State for encouraging trade with the outside world.
He established the first hospital in the State;

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

4

introduced vaccination; started an English school;
founded a Public Library, an Observatory;
organised a Government Press; rooted out
corruption. In those days, we must remember he
had complete responsibility. There was no
legislature'^) advise him or help him.

To study music seriously, thoroughly and
most conscientiously, to practise it assidously, and
then to attain the high professional standard to
be able to compose it - in addition to the cares
and task of ruling the State - this seems to me an
incredible achievement, almost a miracle. And
that miracle seems still more miraculous when
you realise that he died at the age of thirty-four.
We are oftep told that those whom the Gods love
die young. How inscrutable are the ways of God!
What would Swathi Thirunal have not achieved if
he had been allotted a longer span of life?

There is one other thing which
distinguishes Swathi Thirunal from all other Indian
composers. I mentioned earlier the range of his
creative activity-from Kritis to Upakhyanas, from
Pada-Varnams to Tillanas, from Stothras to
Javalis. That does not define his range fully. He
also composed Dhrupads, Khayals, Tappas,
Bhajans. Yes, in the Hindustani style. The
Bhajans are the largest in number; there are about
25 of them. Then come the Dhrupads, about
seven. Three Khayals are known and two Tappas.
He not only studied Hindustani music seriously,
but mastered it sufficiently to compose in it.
Hindustani musicians adorned his court. Some
were in residence. Other visited him as regularly
and frequently as Karnatic musicians did. They
came from the Punjab, from Oudh, Bengal,

Banaras, Poona. Travelling in those days was
not easy. It was like an adventure. The railways

had not come into being. Roads were primitive.

\

How did he manage to pack so much into
so short a life? What kind of a man was he?
How did he keep in touch with the world outside?
Who were his teachers, his friends, his advisers?
Above all, what did his music sound like? His
Karnatic Kritis, his dance Music, his Hindustani
Music?

Well, listen to the programmes All India
Radio has planned for the next three weeks.
Some of them will be relayed by all our Stations
so that wherever you are, you could hear them.
But if you are anxious to hear more and know
more, try and listen to the Southern stations which
will, naturally, broadcast many more programmes.
The best tribute you can pay a composer is to
sing his songs, or alternately, listen to him.

One last word. We are inclined to think of
composers as temperamental, may be slightly
neurotic, introverted-and princes in terms of pomp
and circumstances. Swathi Thirunal was different.
He lived a simple, almost a frugal life for a Prince.
He was generous to a fault, gentle, courteous.
Music to him was an apparatus of worship. Lord
Padmanabha was his real preceptor. "All that I
write, whether poetry or music, centres round
God", he once said, "That is an act of faith with
me. Music is not worth its name otherwise". And
that sums him up admirably.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

REFLECTIONS ON EDUCATION - ROYAL CONTRIBUTIONS

MODERN TRAVANCORE

H.H. Gouri Lekshmi Bayi

Education and educational expansion are of
much significance in human - rights perspective.
This was fully accepted in theory and practical
application in Malayala Nadu of the past and was
a legacy it bequeathed to modern Kerala. Thus
Kerala emerges as the first plage in India with a
claim to cent percent literacy. The 1991 census
of the literacy. The 1991 census of the literacy
rate here was a good indicator to the attainment
of this coveted status. The literacy rate in Kerala
read as 90.6 % as against an all-India average of
52.2% with female literacy here being 86.2% as
against 39.3% which was the all-India ratio. A
peep into the past might serve to give a clearer
picture of evolution of education down the years
and the role it has played in the fortunes of this
fair land.

In the following pages the thrust is on
princely Travancore of the pre-independent era.

The most widely accepted view is that
matrilineal system wherein the family continues
through the woman came into being with the
glorious reign of “Samgramadherea' Ravi Varma
Kulashekhara (1299-1313). His empire extended
from Kollam which was his captial, to
Kancheepuram in today's TamilNadu. His might
was evident not only in martial arts but also in
administration and ability to enforce law. (He has
been hailed as grand-master of sixty four arts.)
Due to this, the transition from the patrileneal to
the- matrilineal system was smooth. With it the

position of the woman in society and family, the
respect accorded to her, equality of status,
educational opportunities all took the upward
curve. Women scholars, both known and
unknown, were not uncommon in the big families
including the royal families of the State.

Education enjoyed high priority for the rulers
of Travancore. Uthruttathi Thirunal Rani Gouri
Parvathi Bayi's reign of regancy (1 81 5-1 829) was
a landmark in the field of education with
succeeding rulers following her footsteps. Famous
is her proclamation of 1817 by which each
‘Mandapathu-vathukkal’ or district was directed
to appoint one Malayalam and one Tamil teacher
on equal footing. The salary was Rs 7 per month
which was then considered handsome. This
Proclamation is now exhibited in the University
College in Thiruvanathapuram. Primary
Malayalam education by the State was introduced
for children between the ages of five and ten with
the responsibility of sending them to the school
resting with the parents. Kerala is still the one
state which has seriously attempted to provide
compulsory primary education to all children:
School dropouts are proportionately much fewer
in number here. Missionaries from overseas
entered the scene in a significant way during the
Rani's rule. Generous help in land, money and
material was made available to them to start
institutions of learning which were scattend all
over, with greater concentration in places like

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Alappuzha, Kottayam, Nagercoil etc. A college
was set up in Kottayam.

Her famous nephew of far-flung fame,
Maharaja Swathi Thirunal Rama Varma (1829-
1846), who took over from her, paid a great deal
of attention not only to formal education but to
certain other branches as well. Spread of English
education on a large scale came about during his
time. In 1834, a year before Macaulay's Minutes
of English Educatuion came into force making
English compulsorily popular in India through the
Governmental machinary, the first State English
school had already come into being. This was in
Travancore in her capital city. In 1835 Swathi
Thirunal had five more such schools established
in Thackalay, Alappuzha, Kayamkulam, Paravoor
and Chirayankeezu. Storing and preserving
ancient manuscripts were taken up and a
Granttappura was made effectively functional.
This was the forerunner to the Ancient
Manuscripts Library serving the needs of many
scholars. Great was his contribution to astronomy
(in which be himself was well versed). Though
many may not be aware of it, the Trivandrum
Observatory was set up by this Maharaja in 1 836.
It possessed the most sophisticated equipment
available in the West at that time. It was a golden
age of literature and music as well.

Sree Swathi Thirunal's younger brother
Sree Utharam Thrunal Marthanda Varma
succeeded him and ruled the land from 1 847 to
1 860. Even when he was the Elaya Raja (next in
line to the throne) he was much involved in
promotion of education. His special pairanage
was extended to the Free School managed by
his friend Mr. J. Roberts. Students with first class
were permitted to pay their respects to him in the
Palace on appointed days and also to follow the

Elaya Raja during hid' evening drives. This gave
real stimulus to the students to secure their grades
& by the time Uthrom Thrirunal became the King,
nearly all the students of the intitial classes had
passed out with flying colours and were all offered
jobs in Government service. The Maharaja's
interest did not wane after he assumed rulership
and he would personally attend the examinations
of the students and encourage them in many
ways. Deeply interested in and knowledgable
about Western medicine, popularity was
generated in its theory and treatment. Another
important step was the opeining of free schools
for girls.

His nephew Ayilyon Thirunal Rama Varma
who became the next Maharaja (1860-1880)
made great contribution to education. In 1866
the Maharaja's College, now known as the
University College, was established in the capital
city. Though two mission colleges were already
existing in other parts of the State, they were
second grade colleges. The Maharaja's College
was not only the premier government college, it
also bad the distinction of being the first, Grade
One college, in the State. Sri. V. Nagam Aiya,
author of the prestigeous Travancore State
Manual, was one among the first batch of
graduates of this College. A system already
prevailed for State selection and financial support
of a fixed number of desereing but poor students
of Travancore to continue higher education in the
Madras University. New schools including Taluk
& Village schools came up all over the State in
scores, both English and Vernacular. A grant-in-
aid system was introduced «: oich was greatly
helpful in spreading elementary education.
Special attention was bestowed on girls' education
leading to the setting up of schools like the Zanana
Mission Girls' School. A Book-Committee for the

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

preparation of necessary text books & the
organisation of a seperate Department of
Vernacular Education are of special notice. In
1874 a Law Class was opened to prepare
candidates for the B.L Degree examination.

Maharaja Vishagham Thirunal Rama
Varma, brother of the late Maharaja became the
king next. A great scholar and famed man of
letters, his reign was lamentbly short, from 1 880
to 1885. He brought about extension of
elementary education by the offer of grants-in-
aid.

Under his nephew Maharaja Moolam Thirunal
Rama Varma 1885-1924, education advanced by
leaps & bounds. Schools were opened all over the
State and categorised, with education starting at
primary level and going on to specialised colleges.
Free primary education was granted to the backward
classes. The Victoria Medical School 1 with an
attached hospital for women was established in
Kollam. A female 'Normal School 1 was
experimentally started in 1 887-88. The Government
Industrial School was throughly reorganised.
Sanskrit College, Ayurveda College, Mahrahaja's
College for Women, Law College, Arts College, an
Agricultural Demonstration Farm and School, Survey
School etc were established. Another important act
was the setting up of a Reformatrory School for
juvenile offenders. Many educational rules were
passed & salary scales of those in the educational
deparment were revised. A number of technical
scholarships for studies in European countries were
instituted & technical education encouraged. With
the sanction of a Chair in History and one in Physics
in the Maharaja's College, this institution was raised
to nearly the highest level among the educational
institutions of the Presidency.

Pooradam Thirunal Maharani Setu
Lakshmi Bayi took over the reins of administration
as Regent for a period from 1 924-1 931 . Education
continued the upward trend. This period
witnessed where sizable increase particularly in
primary schools when double shift system of tution
was provided, while Vernacular schools
experienced considerable increase in strength.
Full-fledged schools including girts' schools sprung
up in many parts like Nagercoil, Alappuzha etc.
A new college hostel was opened giving
admission to all students irrespective of caste or
creed. As a further concession and poor and
deserving pupils from those depressed classes
and communities were excempted from paying
examination fees on an experimental basis for five
years. The provision of noon-day meals to poor
pupils staying far away from their homes was also
sanctioned. It involved generous contributions
from the public too. The present site of the
Mahraja's College for Women was made available
by the Regent to this College which was founded
during the regin of Sree Moolam Thirunal, and
more subjects were added. Salaries of the
teachers were enhanced from time to time and
grants extented to private schools. Medical
inspection of college students was yet another
positive step. 22.02% of the total expenditure of
the State was earmarked for education. In 1925
the first University Committe was constituted to
submit its report for the establishment of the
Travancore University.

Maharaja Chithira Thirunal Rama Varma
assumed full power in 1 931 . His reign from 1 931 -
1 949 was a period witnessing holistic development
and progress. In keeping with the great tradition
of his illustrious ancestors, he also played his
effective role in educational development, a role

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

which could be qualified as historic. The
prestigeious Travancore University took its birth
in 1 937. In those days a handfull of princely states
had their own universities but the graduates were
by and large recognised only within those states.
Maharaja Chitira Thirunal was most concerned
that such a fate should not befall the graduates of
his State. With this aim in view he invited all the
1 4 Vice Chancellors of the other universities to
Trivandrum and a comprehensive syllabus of high
standard was drawn up under their directives. It
may be added here that Dr. S.Radhakrishnan,
former President of India, was one among these
eminent personalities, other than Lakshmana
Swamy Muthaligher, Amamath Jha, Fazil Hussian
and so on. The graduates of the Travancore
University won not only national but even
international acceptance. That famous name is
only a memory today as it has become the Kerala
University though now it does not represent Kerala
State. While Cochin University, Calicut University
and M.G. University array themselves, the identity
of the Travancore University has vanished. The
University Labour Corps was formed to inculcate
the dignity of labour among the students and was
a forerunner to the present National Cadet Corps.
Medical College, Engineering College, Swathi
Thirunal College of Music, Institute for Research
of Pure and Applied Sciences, a seperate
Department for Marine Biology, Faculty for
Oriential Studies and Fine Arts, Ancient
Manuscripts Library, free education for depressed
classes, hostels for students including those for
Harijan students, visual education in schools,
compulsary primary level education in sourthern
regions of Travancore, high power committee for
higher education etc were all the Maharaja's great
contributions. 40% of the State revenue was set
apart for education.

Malayala Nadu can be justly happy at
having an impressive number of names as all-
India firsts among the ladies. The first lady
Surgeon-general of India, Dr.Mrs, Ponnen
Luckose, first lady magistrate Smt Omana
Kunjamma, first lady High Court Judge Smt. Anna
Chandy, first lady Cheif engineer Smt. Kochu
Thressia, first lady Supreme Court judge Smt.
Fatima Bevi (who was also said to be one of the
three lady Supreme Court judges in the world),
all hailed from this land. (It may be recollected
here that the rules goverining the legal set-up
which continue to form the basis of the legal
system collectively known as ’Satta Wariolas'
were promulgated by an accomplished young
Queen of Travancore, Ayilayon Thirunal Rani
Gouri Lakshmi Bayi, 1811-1815. Mother of
Maharaja Swathi Thirunal. She was just twenty
years them.)

Literacy and education do not mean the
same thing. Education should impart widening
of vision encompassing the brain, the mind and
the heart. It should be constructive, not
destructive it should unite, not divide. A few lines
from the Rig Veda are presented here in
conclusion:-

The Rig Veda:-

’ Assemble: speak with one another;

Let your minds be of one accord,

As ancient Gods unanimously enjoy their due
portions.

* v ■

May your aim be common;
your assembly common;

Common the mind and the thoughts of these united
A common purpose do I lay before you;

And worship with your common oblation.
Common be your aim and your hearts united;
Your mind be one so that
all may happily live together. □

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

IMMORTAL ROYAL COMPOSER

A study of th * colourful history
of Karnatic music will bear out the
fact that with Alwars and
Nayammars in South India, the
Dasakuta spearheaded by
Purandaradasa in Karnataka,
saints like Samartha Ramadasa,
Tukaram, Jnanadev and others
in Maharashtra, and Chaitanya,
Ramananda, Mirabai and others
in the north, propagated the
bhakti cult in various forms suited
to the cultural and musical

i

traditions of the region. As this
movement was growing, we find
also a number of musicologists
giving Karnatic music its present
form and structure, through
various works, some of which
have proved seminal in the
sense that they gave the direction
to the growing musical tradition
of South India.

This movement was at its
zenith before, during and a little
after the period when Tyagaraja,
Muthuswami Dikshitar and
Syama Sastri dominated the
Karnatic music scene in South
India. They were the products
and also the moulders of the
present musical tradition of South
India. They were bhaktas par

excellence and composers of a
very high order. Their kritis and
their mode of rendering them as
sung and interpreted by their
numerous disciples spread to the
other parts of South India,
carrying this musical torch to
every corner.

Earlier, Ramamatya wrote the
"SVARAMELA KALANIDHI" in
1550 A.D. and Karnataka's
Pundarika Vitthala wrote his
"RAGA MANJARI", "RAGAMALA"
and other great works on music
and dance. Then during the period
of the Nayaks in Tanjore, Govinda
Dikshita, a great statesman,
scholar, philosopher and poet,
wrote the “SANGITA
SUDHANIDHI”, while his
distinguished son Venkatamakhi
wrote the “CHATURDANDI
PRAKASIKA". Kshetrajna, the
celebrated composer of Telugu
padas, was patronised by
Vijayaraghava Nayak. When the
Marathas came of power in
Tanjore, Tulaja, who ruled up to
1735, wrote the "SANGITA
SARAMRITA”. Besides these
kingdoms, there were smaller
states and zamindaris like Bobbin,
Ettayapuram, Karvetnagar,

T.T. VASU

Pudukottai, Ramanathapuram
and Sivaganga where musicians
were welcomed and honoured.
Mysore and Travancore were very
much in the picture in the matter
of providing encouragement to
music and musicians of South
India.

In this setting, when
Tyagaraja, Muthuswami Dikshitar
and Syama Sastri were pouring
their ambrosial strains of music
in Tamil Nadu, we had a parallel
phenomenon in Travancore
whose ruler, SwatiTirunal (1813-
1846) made Travancore the
centre of many musical and allied
activities devoted to the
cultivation and sophistication of
fine arts.

Sri Swati Tirunal was a
versatile and gifted ruler. Music
ran in his blood. His predecessor,
Kartikai Tirunal wrote several
kathakali plays and a treatise on
dance called "BALARAMA
BHARATAM" and some songs.
Aswati Tirunal, Swati Tirunal's
nephew, composed kathakali
plays and kirtanas. But the
encouragement and cultivation,
through innovative efforts, to

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

sustain, enlarge and embellish
the inherited traditions in several
branches of music reached its
zenith only during Swati Tirunal’s
regime. M Swati Tirunal had not
been known as a poet, composer
and musicologist, he would still
occupy a distinct place in the
history of Travancore State. He
was a man with a vision. His
contributions were many sided
and pioneering. He was the first
to organise festivals in the temple
of Sri Padmanabha in a
systematic, grand-and majestic

manner, producing a blue-print of

• %

the festivals, and the
accompanying religious, artistic
and other bhakti-centered
activities. He arranged the
collection and maintenance of
valuable manuscripts. As a
patron of arts and music and as
a composer and poet, he had few
royal rivals.

He attracted all the best
talents in the country which gave
Karnatic music a new life, new
vitality and a new colour and
glory. Meru Swami of Tanjore,
who cultivated music as a form
of yoga and who was well versed
in Hindustani and Karnatic music
in theory and practice, was
brought to Trivandrum. It was
Meru Swami who inspired Swati
Tirunal to compose

KUCHELOPAKHYANA and
AJAMILOPAKHYANA. He
functioned as the guru of Swati
Tirunal and was later raised to the
status of the Kulaguru of the
Travancore ruling dynasty.
Another important factor that
helped Swati Tirunal in the
blossoming of his many sided
musical personality was the
Tanjore Quartette, Chinnayya,
Ponnayya, Sivanandam and
Vadivelu, disciples of
Muthuswami Dikshitar. Of the
four, Vadivelu was the nearest to
Swati Tirunal. The ruler sought to
help of Vadivelu on many aspects
of Karnatic music, dance and
drama. Vadivelu was his
consultant, particularly in respect
of his compositions for
Bharatanatyam like the Varnas,
Swarajatis, Padas and Tillanas.

Another musician who helped
Swati Tirunal was Shatkala
Govinda Marar. Tyagaraja asked
Marar to sing at Tiruvaiyaru and
was thrilled with the devotion •
charged music of Marar.

All the gifts that Swati Tirunal
had were surrendered at the feet
of Lord Padmanabha whom he
worshipped with the ardour of a
beloved. But to him neither music
nor poetry was an end itself. Each
was a means to an end, to sing
the glories of God and attain Him

ultimately. In his famous
"BHAKTIMANJARI" he
observers that a literary work,
however good It may be, with its
faultless prose and perfect verse
and sparkling rhyme and
charming sense, if it does not
extol the glory of God, it should
be deemed to be a waste.

In the early 19th century, the
fame of Swati Tirunal as a
composer started spreading in
Tamil Nadu and beyond. He was
however known as Kulasekhara
Perumal or Kulasekhara
Maharaja to Tamilians. One of his
kirtanas, "SARASA SAMA
MUKHA" in Khamas found a
place in a Telugu book published
in 1 859 at Madras, that is 1 3 year
after the demise of Swati Tirunal.
By 1902, Tachur Singaracharlu
was able to collect 1 2 kirtanas of
the ruler which he published with
notation. I was pleasantly
surprised to hear from our
Secretary, Mr.T.S.Parthasarathy,
that Raja Sir Sourindra Mohan
Tagore has, in his book “Universal
History of Music” published in
1896, mentioned that the late
Maharaja Kulasekhara of
Travancore, was a composer of
no ordinary repute.

In 1905, Subbarama Dikshitar
was able to collect biographical
details of the royal composer

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

which he furnished in his book Travancore ruler. Harikesanailur

under the heading "Kulasekhara
Perumal”. He says: “This king
was a ruler of Travancore. He
was a linguist who had mastered
many languages like Sanskrit,
Telugu, English, Malayalam and
Hindustani. His forte was music.
He has composed many chowka
varnams and numerous kirtanas
in Sanskrit in rakti ragas and desi
ragas with the mudra
‘Padmanabha’ and these are full
of musical excellence. He has
composed several Sanskrit
Kavyas like the Champu. He has
also composed padams and
many songs in Malayalam”.
Subbarama Dikshitar was
perhaps able to collect so many
details about Swati Tirunal 90
years ago as the former lived in
Ettayapuram which is very close
to Trivandrum.

Although the Chidambara
Vadhyar edition and the
Ranganatha Iyer edition were the
first publications which contained
the compositions of Swati Tirunal,
with or without notation, it was
only after the establishment of the
Swati Tirunal Academy of Music
at Trivandrum in 1936 that the

Muthiah Bhagavathar, the first
Principal of the Academy,
laboured with indefatigable
industry, collected and made
ready for publication nearly 400
compositions of the Maharaja. He
was succeeded by our renowned
vocalist Semmanguid Srinivasa
Iyer who gave the final polish to
the versions and introduced them
to the concert platform in the form
in which they are sung today. It
was during the principalship of Sri
Srinivasa Iyer that the “Maharaja
Sri Swati Tirunal Kritimalai” with
the notation in the Tamil script
was published. This edition
contained a representative
selection of the Maharaja’s
compositions which included
kirtanas, Navaratri Kirtanas, a
Telugu padam, kritis in
manipravala, a Telugu javali, a
Hindi bhajan; a raga malika and
a mangalam. This was followed
by another edition in 1970
comprising 57 songs with svara
notation, sahitya and meanings
in Malayalam and Tamil. These
led to the Maharaja’s songs
spreading widely in the Tamil
speaking areas.

South Indian music world was Earlier, the kritis had come to
exposed to the incredibly light in the Tamil-speaking areas
precious musical heritage of the and T.P. Kodandarama Iyer, in his

Courtesy : The Madras Music Academy

Bhajana collection published in
1913, printed as many as 51 kritis
of Swati Tirunal including two
which are not found in editions
printed in Travancore. The
materail on this versatile ruler
continues to grow, and we find
him also as a literary critic in
Sanskrit who wrote an
ANUKRAMANIKA or index to the
verses in the ANYAPADESA
SATAKAM of the celebrated
South Indian poet Nilakantha
Dikshita. The ruler also wrote a
Sanskrit booklet on prosodical
beauties in kritis as gathered by
him from the kirtanas of
Margadarsi Sesha Iyengar. This
rare book was out of print for 60
years and was reprinted by the
Music Academy a few years
back.

Posterity however remembers
him as the most versatile among
the composers of South India
with songs covering almost every
musical form current in his time.

It is clear that there was. a
musical tradition in Kerala which
enabled him to absorb all the
elements of Karnatic and
Hindustani music. He built a
musical empire which is bound to
last for centuries to come and
bring joy to generations of music
lover.

□

Souvenir 1996

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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THE UNIQUE GENIUS

OF

KERALA

[Sri Swati Thirunal Maharaja was a golden star of the galaxy of musicologists of

India and the pioneer in the field of Fine Arts in Kerala]

The Travancore Royal family is enriched
by the tradition of great Cultural contribution
by its lineage of Maharajas and other members
of the family. From the period of the renowned
Poet-dramatist Kulasekhara Chakravarti who
wrote the famous poem Mukundamala and
Sanskrit plays Tapati Samvaranam and
Subhadra Dhananjayam, upto the modern times
the members of the Travancore royal family
have made indelible impressions in the minds
of the people by their worthy contributions.
Sri Swathl Thirunal was the brightest star in
the royal progeny, due to his luminous
personality. The auspicious and great name
of Sri Swati Thirunal is being led to recent
debates with regard to the genuinty of his
scholarly genuis. According to the adversary
group, Sri Swathi Thirunal has not created any
of the works, and instead some other
contemporary men like Vadivelu composed the
songs and such persons were in the royal court
at that time. Some other critics dared even
to state that there was no such Poet-composer-
musician King in the name of Sri Swati
Thirunal. Yet another group was of the opinion
that it is not correct to equate Sri Swati
Thirunal to the famous musical trinity.

On the basis of historical records,
manuscripts, traditional beliefs, concreate

evidences etc. we can undoubtedly say that
there was one Maharaja of great genius in
the name Sri Swati Thirunal Rama Varma
(1813-1847) who ruled the erstwhile Travancore
State for about two decades and he was a
musical prodigy. We should not turn a blind
eye towards truth and facts of history.

It becomes necessary to move strongly
to establish the great Keralite talent, opposing
the attempts at deconstruction and
desctruction of truth positions. It is necessary
to neglect the contradictory polyphony and to
hold high the greatness of our great artistic
tradtion.

Dr. V.S. Sharma

Sri Swati Thirunal Maharaja was born on
16th April, 1813, as the son of Changanacherry
Raja Raja Varma Koil Thampuran and Rani
Gouri Lakshmi Bayi. The Prince was popularly
known as 'Garbhasriman' and he was
proclaimed as the king when he was only four
months old by his mother, with the consent
of the British Government. Till the Prince grew
up, his mother, and after her demise his aunt
Rani Gouri Parvathy Bayi ruled the State as
Regents. In 1829 Sri Swati Thirunal became
the king and he ruled the state with vision
and will power for eighteen years. His

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

administration reflected the deep and
compassionate knowledge of the world and
progressive attitude. The reforms he made
were notable or and many of such
administrative matters are still being recognised
and appreciated by all though some of them,
were against the will of the Britishers. Swati
Thirunal was a very good ruler and he could
lead the state to progress and prosperity in
many ways.

Sri Swati Thirunal, while he was young
had his education under the guidance of
leading scholars of the time. He studied more
then 18 languages, Mathematics, History,
administrative laws, music, dramaturgy etc.
Rama Varma Vijayam Champu in a clear
evidence for his knowledge is various areas.
Everyday he used to go upto the suburban
place Mudavan Mukal, where in a small building
he studied music and developed his talent in
that direction too. He became proficient in
various arts like Music, Dance, Painting and
Archetecture. When he became the Maharaja,
his royal court was full of scholars and artistes.
He gave wide partonage to them and his
capital Trivandrum became the abode of
Artistes and art lover, like the capital of
Vikramaditya, Krishna Devaraya or Sarabhoji
of Tanjore, Mahakavi Ulloor says in the history
of literature "even great artistes from far away
places like Arabia, Japan, Napal, Turkey,
Malaya etc. received his bounteous rewards".

It was Sri Swati Thirunal who effected
the modern educational system in Travancore
by initiating the first English School - 'Rajah's
Free School' at Thiruvananthapuram.
Malayalam was made the State Language, He

modernised the Military forces, founded the
Observatory, started Public Library, Government
Press; Dairy system, Hospital for allopathic
treatment, conducted census; and many other
notable things happened during his reign. All
the administratoy steps undertaken by the
Maharajah Sri Swati Thirunal led his state to
progressive heights.

Along with such skillful efforts, the Maharaja
tried his level best for the cultural advancement
of the country. He patronised a galaxy of
scholars, Musicians, Artistes etc. and
established rich heritage of culturel.
Overburdened with political matters and tiring
relation with the British ruler the health of the
Maharaja deteriorated, and at the young age
of 34, he breathed his last.

Though there are some legendary stories
about his relationship with the dancer
Sugandhavaliy which has been portrayed by
dramatists and cinemetographers there is no
historical evidence to prove that Sri Swati
Thirunal married the Dancer Sugandhavaliy who
came from Tanjore. For the last one or two
decades many admirers of the composer king
were very much bothered about the 'Dasi'
Sugandhavaliy who was connected to the
Maharaja on the basis of false notions and
presumptions. It is all a mystry!

Bhaktimanjari ( Poetie treatise on Bhakti in
1000 Sanskrit verses), Syanandurapuranvarana
prabandham, Muhanaprasantyaprasavyavastha
(grammar of Music), Anyapadesasatakavyakhya
are the Sanskrit works of Sri Swati Thirunal.
He wrote Ulsavaprabandham in Malayalam
describing the festival of Sri Padmanabhaswami
Temple.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

In addition to the literary works he composed
the following songs too.

1. Kirtanam 191 Navaratri Kirtana,

Navavitha Bhakti Kirtana

and songs on various

Deities.

2 Padam

66 Suitable for
Mohiniyattam

3. Bhajan

4. Varnam 26 Sringara Varna and

Stava Varana

5. Dhrupad 1 6

6. Khyal 1 6

7. Tappa 3

8. Swarajati 7

9. Thillana 6

lO.Songs of Ulsava Prabandha 12

11. Songs of Ajamilopakhyana 9

12.Songs of Kuchelopakhyana 38

Total

394

This include compositions in different
languages set in various ragas also.

The music compositions form the foundation
for Swati Thirunal's fame as a great poet-
scholar - musicologist. The engraving of Sri
Padmanabha, the family Deity is seen in every
musical or literary piece of the Maharajah,
some other dieties - Goddess Saraswathi,
Parvathi, Thiruvarattukavu Bhagavathy, Devi of
Kumaranallur, Sri Krishna of Guruvayoor,
Viswanatha of Kashi etc. are also worshipped
through certain songs. The compositions

include those written in Sanskrit, Manipravala,
Hindusthani, Telugu, Karnataka and Malayalam
and even rare ragas like Dvijavanti, Lalita,
Panchamam, Mallari, etc. are also employed
In the compositions. The aesthetic beauty of
the compositions is very evident in its recitation.
The throbs and shapes of the religious mind
which resonates in the different compositions
are enough to prove that they are His Highness
compositions. It is quite baseness to attribute
his three-fold magnificense of language music
and emotions (the bhaktibhava) which
overwhelms the works, to some one else. The
Maharajah had lived in great communion with
the Lord as it is evident in his compositions.

Sri Swathi Thirunal had a galaxy of artistic
luminaries of the time Irayimman Thampy,
Shatkala Govinda Marar, Kilimanoor Vidvan Koil
Thampuran, Palghat Parameswara
Bhagavather, Vadivelu etc and many other
personalities of equal reputation. Even
Muthuswami Dikshitar and saint Tyagaraja
might have visited the Maharajah in the last
phase of the life.

The world of Carnatic music, without Swati
Thirunal would be as unpleasureable as a year
without spring or the sky without the moon
and ocean without waves. Sri. Swati Thirunal
was the foremost among the musicologists ever
lived in Kerala. His contribution to revive
Mohiniyattam, to introduce Harikatha and the
Katcheri style of music performance in Kerala
etc. can be qualified as the magnum opus in
the life-contribution of this unique personality,
Sri Swati Thirunal was the poineer in the
history of music of Kerala. He was the king
among musicians and musician among the
kings. □

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

SOME “DOCUMENTARY EVIDENCES
ON

SRI SWATI TIRUNAL

Dr. R. P. RAJA

I am giving below, a few selective
documentary evidences on Sri Padmanabha
Dasa, Sri Swathi Thirunal Rama Varma
Kulasekhara Perumal Maharaja, who ruled the
princely State of Travancore from 10th of
Chithirai (Medom Month) 1004 M.E. (20th of
April 1829) to the 13th of Dhanu (Margazhi)
1022 M.E. (26th December 1846 A.D.). I hope
it will be of interst to students of both history
and music.

ON BIRTH

1. SRI. M. RAJA RAJA VARMA of
Manoormadom Palace, Mavelikkara, was
one of the most eminent research scholars
of his times. He was a historian and
literateur. His discovery and publication
through four issues of the prestigious
“KERALA SOCIETY PAPERS" of ancient
cadjan leaf records relating to the Travancore
Royal Family, under the caption “SOME
TRAVANCORE DYNASTIC RECORDS” had
restructured the chronological order of the
Venad (Travancore) Kings and is a well
known fact amongst the historians. In olden
days, historians used to copy down
important facts from the thousands of cadjan
leaf documents which contained Huzur
Records, Temple Records and Palace
Records. Sri. Raja Raja Varma had such
a huge collection of records. Now they have
come down to one of his distant relations,
namely Kizhakkay Madathil Govindan Nair,.
and is well preserved by him. In the year
1992, he along with Dr. B. Pushpa
published a book titled
“CHARITHRATHINTAY EDUKAL’ (Folios of
History) for the period 988 to 1022 M.E.

corresponding to 1813 to 1847 A.D. covering
the period of Swathi Thirunal. I am quoting
two important records from them. Wherever
it is necessary to translate, the translated
version is given.

1 . "Expenditure incurred for distributing 51
Thulams ( a measure of weight) of sugar
in the four streets within the fort, in a
one horse drawn carriage, with beating
of drums, in connection with “Valiya
Thampuran” (the reigning sovereign -
Gouri Lakshmi Bayi) giving birth to a
Prince on 6th Chithirai (Medom) on
CHOTHI (malayalam for SWATHI)
Nakshathra day - 803 V* Panam ( A
Travancore Coinage). The year of
Accounting was 988 ME in the HUZUR
Accounts.

2. “Expenditure incurred in connection with
giving away of “Danams" (Gifts to
Brahmins) for CHOTHI THIRUNAL
(SWATHI THIRUNAL) Kochu Thampuran
(Prince) - 72 Panams. (Year 988 M.E.)

“SREE CHITHIRA THIRUNAL GRANTHA
SALA" in Thiruvananthapuram is one of the
prestigious libraries in Kerala State. It has
an additional pride of place in that it has
one of the best collections of very old printed
books in Malayalam. One of the most
fascinating books is an old dilapidated loose
sheeteed ALMANAC (Panchangam) for the
year 1018 M.E. (1842-1843 A.D ) On Page
82 of the Alanac, the following is seen: -
The page begins with the caption -

"THE NAMES AND DATES OF BIRTH
OF THE MEMBERS OF THE ROYAL

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

FAMILY WHO ARE ALIVE NOW Then
- “Sree Padmanabha Dasa, Vanchi Pala,
Rama Varma, Kulasekhara Kireetapathi,
SWATHI, Rama Raja Bahadur, Munnay
Sulthan, Shamsher Jung Maharaja, born
on 6th Medom in the 988th Kollam Andu,
under the star CHOTHI is ruling the state
qow. “So the Almanac pertains to the period
WHEN SWATHI THIRUNAL WAS ALIVE
AND RULING THE COUNTRY. The date
of birth corresponds to 16th April, 1813
A.D.

ON CHARACTER AND PERSONALITY

1. Sri. P. SHUNGOONNY MENON is the son
of Sri. Blaahayil Kandunni Nair of Nattika
(now in Trichur District). So, Shungoony
Menon was not a Travancorean. He was
born in the year 1815 A.D., that is two
years junior to Swathi Thirunal and just a
few months- younger to Uthram Thirunal
Marthanda Varma, the brother of Swathi
Thirunal. In tye year 1835, when he was
twenty years old, he came to
Thiruvananthapuram for advance studies in
English in Mr. Robert's school, established
by Swathi Thirunal. He came with an
introduction letter to Utham Thirunal
Marthanda Varma, from Mr. Frazer, the then
Resident from Cochin. The meeting between
Shungoonny Menon and Uthram Thirunal
Marthanda Varma can be qualifieid as one
of "LOVE AT FIRST SIGHT”. For, they
became intimate companions in no time
and Shungoonny Menon continued under
the patronage of the Maharajas of
Travancore as a Government servant as
well as a close associate of the Travancore
Palace for the next forty four years, that
is till 1879 A.D. When Sri. Menon arrived
in Thiruvananthapuram, Marthanda Varma
made arrangements for his stay in the
palace complex itself, and made
arrangements for his food from "PAKKOM”
an establishment for the food supply to
palace staff. In those days, the Huzur Office
was functioning in what is known as

"THEKKAY THERUVU MALIKA” a part of
the great “Valiya Kottaram Complex” where
in one part the Maharaja himself was
staying. “Ranga Vilas” where the court of
Swathi Thirunal was held was also part of
this palace complex. Shungoonny Menon
had the privilege of working under Swathi
Thirunal as a government servant for elevan
years, that is, till the demise of Swathi
Thirunal. Being an inmate of the palace
complex, his knowledge of Swathi Thirunal
was intimate, personal and first hand. So,
his recordings about Swathi Thirunal stand
beyond any doubts. I am quoting some
relevant statements made by him in his
“HISTORY OF TRAVANCORE".

“This illustrious sovereign was really
the king of Travancore from the very day

of his birth Assumed charge of

affairs on 10th Medom 1004 M.E (on

completion of sixteenth year)

Notwithstanding his youth, His Higheness’
aptness for the right discharge of the
functions devolving on him was something

wonderful Reformation and maintenance

of strict moral discipline were the chief aim

and ambition of this young sovereign

His Highness had set apart a few hours
everyday to attend to public business, and
days were appointed for receiving the
Dewan, the Judges of the appeal court,
the palace officers etc. with their respective
reports . This measure of hearing reports
directly from each department, facilitated
the speedy conduct of public business by
the several departmental officials etc.

2. Mr. J. A. BROWN an Englishman, was the
Director of the Observatory in
Thiruvananthapuram. He had published a
work named "MAGNETIC OBSERVATIONS”.
In that work after referring to the origin of
the Thiruvananthapuram Observatory to
Swathi Thirunal Maharaja, he observes about
the Maharaja thus: - "His Highness was
celebrated throughout India for his love of
learning, for a cultivated mind, great poetical
powers, and a thorough knowledge of many

^ _ y

C

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR • 1997

languages. His Highness is well Known also
for his decision of character, and took the
whole subject at once under his special
protection."

3. ON SCHOLASTICITY AND LEARNING

1. COLONEL WELSH in his book
“MILITARY REMINISCENCES”.

"The elder boy now thirteen seemed
greatly improved in mind” (he had seen
Swathi Thirunal when he was just seven
years old) “though rather diminutive in
person. He read a chapter of Malcom's
Central India, the Governor General’s
Persian letter on the capture of Rangoon,
a passage in Sanskrit etc."

2. P. SHUNGOONY MENON “ A HISTORY
OF TRAVANCORE FROM THE EARLIEST
TIMES” Published in 1878 A.D. by the
HIGGINBOTHAMS, MADRAS.

4k

1. "By the time His Highness attained his
majority, he had completed his education
and became a perfect master of Sanskrit,
English, Persian, Hindusthani, Marathi,
Telugu, Canarese, Tamil and Malayalam."

2. "His Highness had equally qualified
himself in political matters by his assidous
study of various English and Sanscrit
works, and he acquired a throrough
knowledge of the Institutes of Manu. His
Highness made it a point to discuss
important questions on Logic and
Rhetoric, both in English and Sanscrit,
and thus became capable of entering into
the discussion of any subject, without
fear of being defeated by other learned
men."

LITERARY ACHIEVEMENTS.

1. SHUNGOONNY MENON. "The
Maharaja was also a remarkable Sanscrit
author. He composed numerous poetical
works on Metaphysics, Religion etc. A
Sanscrit poetical work called a
"Prabandham" containing historical

~~ collections, was also composed by him."

2. MAHA MAHOPADHAYA
SRI.T. GAN APATHY SASTHRY

Sri. T. Ganapathi Sasthri had the fortune
to edit two of Swathi Thirunal's literary
works, namely "BHAKTHI MANJARI" and
"S YAN AN DU R APU R AVARN AN A
PRABANDHA." Bhakthi Manjari was
published in 1906.

Ganapathi Sasthri had the privilege as
well as good fortune to see the
ORIGINAL MANUSCRIPT WRITTEN IN
SWATHI THIRUNAL'S OWN
HANDWRITING. It is amusing to note
that even before Bhakthi Manjari came
to be known among the Indian scholars,
it became known in America, England
and Europe. It was presented at an
International Sanscrit conference in 1 907
A.D. held in Paris. Sri. Ganapathi
Sasthri edited "SYANANDURA-
PURAVARNANA PRABANDHAM" in
1 920. It contained a " Vyakhana " named
"Sundari" done by "Changanacherry Raja
Raja Varma" the father of Sri Mulam
Thirunal Maharaja, and uncle of Kerala
Varma Valiya Koil Thampuran, the famed
"Kavikula Guru", the "Kerala Kalidasa.
"One can appreciate the greatness of
Changanacherry Raja Raja Varma as a
scholar when one learns that in four and
a half years he made Kerala Varma Valiya
Koil Thampuram a master of Kavya,
Nataka, Alankara and Vyakarana.
Changanacherry Raja Raja Varma
married Pooradom Thirunal Lakshmi Bayi,
the only hiece of Swathi Thirunal in the
year 1015 M.E. (1840). So, he was in
the royal palace and in association with
Swathi Thirunal for nearly seven years.
And Kerala Varma Valiya Koil Thampruan
married Bharani Thirunal Lakshmi Bayi,
the neice of Pooradom Thirunal Lakshmi
Bayi and of Ayilyam Thirunal and
Visakhom Thirunal Maharajas. So, both
Changanacherry Raja Raja Varma and
Kerala Varma Valiya Koil Thampuran, both
eminent scholars and literateurs had first

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

hand knowledge about the works of
Swathi Thirunal.

M S YAN ADU R APU R AVARN AN A
PRABANDHAM" contains a very
important data on Swathi Thirunal.
Whenever Swathi Thirunal composed a
spng, or completed a literary work, he
made a "Samarpanam" ( offering ) of
the work at the Lotus Feet of Sri
Padmanabha. And quite often such
Samarpanas were accompaied by a
personal verse to Sree Padmanabha.
Indifference over the years caused the
loss of such verses and in most instances
the original cadjan leaf works also.
Luckily, the "Samarpana Verse" with the
wish of the Maharaja was known to his
nephew-in-law changancherry Raja Raja
Varma Koil Thampuran and he had
incorporated that verse also along with
the body of the main work in his "Sundari
Vyakhana" of Swathi Thirunal. I am
giving below a transliteration of the Sloka
(Verse) WRITTEN BY SWATHI
THIRUNAL HIMSELF while placing the
Syanadurapura Varnana Prabandham at
the feet of the Lord:-

"Swathi Jaathena Choodaadhritha
Sarasijanaabhamghri Yugema Lakshmee
Raanjnee Puthrena Vancheeswara Kula
Janusha Rama Varmaabhidena
Bhakthiydrekena Saswad Guruvarakripayaa
Nirmitham Champukaavyam Svaanandoo-
reswarasya pramithamupahritham Sam
Sadalam Nidadhyaath."

(Born in the star Swathi, carrying the
lotus feet of Sree Padmanabha, son of
Lakshmi Ranee, born in the Vanchi Kula
- Chera Dynasty - Travancore Royal
Family - named Rama Varma, out of
intense devotion (to Sree Padmanabha)
and by the grace of Gurus (teahcers)
made this Champu Kavya, which is being
offered as a gift to Sree Padmanabha,
let it bring mangala (prosperity) to all.
"That is hearing it or reading it let it bring
prosperity).

While making this offer of the work to
Sree Padmanabhaswamy temple, so that
people may hear it and recieve the
blessing ol the Loid and mangalam and
Aiswarya to them a daily service of the
God Padmanabha by way of reading
(Parayana) this work as desired by the
pious author, to be conducted in the
temple, is even now peiformed.

It is important lo note lieie that in a
work on this Champu published by "Sri
Swathi Tirunal Kritis Publication
Committee" which was with a
commentary in Tamil named "Haripriya"
by an eminent scholar Professor V.S.
Guruswamy Sastrigal, he had opined that
the quoted sloka was the addition by a
poet of Swathi Thirunal's court and not
of Swathi Thirunal himself. It is not right.
Changanacherry Raja Raja Raja Varma,
Kerala Varma Vliya Koil Thampuran and
Ganapathy Sasthri who had seen the
works and knew about it in detail, had
sepcif ically included the seperate
"Samarpana Sloka' of Swathi Thirunal,
(Which the Maharaja did not expect to
he published being a personal
communion to Sri Padmanabha) and
found its way into the body of the
Champu, because of Changanacherry
Raja Raja Varma, that is all. The Sloka
was by the author himself.

"THE GRANTHAPURA" the library
attached to the Royal Palace in
Thiruvanathapuram was an exquisite
collection of thousands of cadjan leaves
and rare books of great value. It was
well preserved and maintained till the time
of Kerala Varma Valiya Koil Thampuran.
Kerala Varma was the president of the
"Book Committee" till 1890. And
Sri. K. Chidambara Vadhyar was a
member of the Commute during the period
from 1883 to 1887. Valiya Koil
Thampuram had given free access to
the Granthapura to Chidambara Vadhyar,
himself a pious Bhramin and a scholar.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

In his book "SWATHI THIRUNAL
KALPICHUNDAKKIYA SANGEETHA
KRITHIKAL" which he published in 1916
A.D., he had recorded in his Foreward
that he has seen the following works of
Swathi Thirunal:-

1. Ajamilopakhyanam.

2. Kuchelopakhyanam.

It is said that when Swathi Thirunal was
sixteen, he started his literary and
poetical career and that one of the
earliest attempts was to write a small
introduction giving the gist of each of
the one hundred verses of Neelakanta
Deekshithar's "ANYAPADESA

SATHAKAM. * It was written in Sanscrit
prose. Kerala Varma Valiya Koil
Thampuran in later years gave a
translation of Swathi Thirunal's Sanscrit
Introductions in Malayalam and at the
same time, translated the Anyapadesa
Sathakam itself into Manipravalam
(Sanscrit + Malayalam) poetry. And
Sri.M. Raja Raja Varma, translated Valiya
Koil Thampuran's poetry into Malayalam
prose and the whole was published as
a single book by the B.V. Book Depot
of Thiruvanathapuram.

Touching on other works of the Royal
author one can note "MUHANA
PRASANTHYAPRASA VYAVASTHA",
"SRI PADMANABHA SATHAKAM" AND
"ULSAVA PRABANDHAM." But there
is yet another work of the Maharaja which
remains UNKNOWN TO THE GENERAL
PUBLIC at large. It is famous in Sri
Padmanabhaswamy Temple, as "SWATHI
THIRUNAL KALAPICHUNDAKKIYA
GHATTIYAM." "Ghattiyam" is a small
verse or few lines praising the lord during
festive occassions.

In Sri Padamanabhaswamy temple,
during the Ulsavams (temple festivals)
when the Lord is taken as a procession
inside the temple, (the SIVELI) the
procession stops at certain points, and

then Brahmins loudly recite the
"Ghattiyam" Swathi Thirunal had
composed Ghattiyams in many languages
to be recited at specific times. For
example, there are Ghattiyams to be
recited at the Eastern gate, Western gate
etc. in the morning of the first day of
Ulsavam. Then for the evening. Thus
for ten days. The Brahmins who recite
the ghattiyams say that originally there
was a printed book containing these
Ghattiyams but time and indifference had
caused its destruction. Now they recite
it from memory and practice. We have
with us now handwritten copies made
by these Brahmins for preservation of
what little is available now. It is said
that the languages used were Sanscrit,
Tamil, Telugu and Malayalam.

5. MUSICAL ACCOMPLISHMENTS.

Unfortunately instead of knowing the
TOTAL PERSONALITY of Swathi Thirunal, he
is known now more for his Musical
Compositions than for other accomplishments.
Disappearance of Sanscrit from among our
scholars could defenitely be one of the causes.
Still, one cannot deny the truth that Swathi
Thirunal became immortal through his Musical
compositions. Now to documentary and
historical evidences.

a) REV. SAMUEL MATEER.

Rev. Samuel Mateer was a British
Missionary who was in Travancore for a
number of years. After retirement he
published a book from London in the year
1871 A.D., seven years before

Shungoony Menon published his book.
The book was titled

"LAND OF CHARITY" and was
concerned with Missionary work in
Travancore. On Page 146 of that book,
Rev. Mateer records thus:- "More special
interest naturally attaches to a poem
composed and published by His Highness
the late Rajah Vunchee Pala Rama

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

Vurmah, elder uncle of the present Maha
Rajah' (Ayilyam Thirunal Maharaja) 'who
died in 1846.' (Swathi Thirunal passed
away in 1846.) "It is considered by native
scholars to be a good specimen of
modern Sanscrit poetry, the compound
poetical terms being formed according
4o standard rules, the sentences skillfully
constructed and the whole adapted to
be sung to the most popjlar and
melodious Hindu tunes. This work
contains hymns in praise of
Pultmanabhen, the tutelar diety of the
"charitable kingdom," BUT OFCOURSE
IS THOROUGHLY SUPERSTITIOUS
and, AFTER A FASHION, DEVOUT IN
SENTIMENT AND TONE." Then Rev.
Mateer gave English prose translations
of the following compositions of Swathi
Thirunal:-

1 . The Sthava Varna • Jagadeesa Sree
Jaanay - in Sudha Saveri, and

2. The Vairagya Keertana - Vihara
Maanasa - in Sudha Bhairavi.

And Rev. Mateer had the cheekiness to
conclude his comments on Swathi
Thirunal thus:- "It should be borne in
mind that this poem is the production
of one well acquainted with many of the
truths inculcated by the Christian religion."

The point of importance is that, IN A
WORK OF A CHRISTIAN MISSIONARY
MEANT FOR CHRISTIAN
MISSIONARIES WHO COME TO INDIA
AND ESPECIALLY TO TRAVANCORE
AND COCHIN, the author HAD GIVEN
COMPOSITIONS ON A "HEATHEN
GOD." It shows the "IMPACT "Swathi
Thirunal had on contemporary Indians
and Non Indians, Hindu and Non Hindus
as a POET AND MUSIC COMPOSER.

b) SHUNGOONY MENON, who was a
subordinate officer of Swathi Thirunal,
a man who was practically an inmate
of the very same Palace Complex of

Swathi Thirunal, who knew Swathi
Thirunal personally for eleven years, was
so impressed with the poetical and
musical accomplishments of Swathi
Thirunal, he recorded thus: " The Maha
Rajah was also a remarkable Sanscrit
author. He composed numerous poetical
works on Metaphysics, Religion etc. A
Sanscrit poetical work called a
“Prabandham" containing historical
collections, was also composed by him
in addition to NUMEROUS SONGS AND
HYMNS IN PRAISE OF THE ALMIGHTY
AND THE CREATOR OF THE
UNIVERSE. HE ALSO COMPOSED
SIMILAR SONGS IN TELGU,
HINDUSTHANI, MAHARATTA AND
OTHER LANGUAGES and these are
even to the present day WELL KNOWN
THROUOUT INDIA."

Menon, not satisfied with this, gave the
translations of the two songs quoting Rev.
Mateer, and STILL NOT BEING
SATISFIED, gave full translations of the
NINE COMPOSITIONS of
"NAVARATHNA MALA" dealing with the
Nava vidha Bhakthi. Thus, in his "A
HISTORY OF TRAVANCORE FROM
THE EARLIEST TIMES" published in
1878 A.D. by Higginbothams, Madras,
he had given the TEXT OF ELEVEN
COMPOSITIONS OF SWATHI
THIRUNAL. This fact may be of interest
to the GUINNES BOOK OF WORLD
RECORDS, for there could possibly be
NO OTHER BOOK ON POLITICAL
HISTORY OF A COUNTRY WHERE THE
HISTORIAN HAS GIVEN TEXT OF
ELEVEN MUSICAL COMPOSITIONS OF
A KING IN THE MAIN BODY OF THE
WORK. SO, THAT WAY ALSO, SWATHI
THIRUNAL BECOMES A UNIQUE
MUSIC COMPOSER.

DOCUMENTARY EVIDENCES PROVING
SWATHI THIRUNAL AS A GREAT
MUSIC COMPOSER IS NOT CONFINED
TO THE RECORDINGS OF MUSICIANS,

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

SCHOLARS, AND BIOGRAPHERS,
ONLY BUT BY HISTORIANS
(POLITICAL ) ALSO. Vaikkathu Pachu
Moothathu who wrote the first History
of Travancore in Malayalam and published
it in 1867 A.D. also had recorded about
the musical accomplishments of Swathi
Thirunal.

c) VISAKOM THIRUNAL MAHARAJA

Famed as "Marcus Aurelius of
Travancore” and “Rama Varma the
learned” both inside and outside India,
this youngest nephew of Swathi Thirunal
was one of the most remarkable
sovereigns of Travancore. His fame did
not confine itself to his scholarship but
also to his great integrity of character
and unbending honesty. He was a patron
of the “GAYAN SAMAJ" an Association
formed at Poona to promote Indian
classical music, with a branch at Madras.
Like John Higgins of this century, Captain
C.R. Day, an army captain stationed at
Madras, during the last century became
fascinated in Carnatic Music and learnt
it, and became an authority on it. In 1 885
A.D., he prepared a questionaire to know
about music in Travancore and sent it
to Visakhom Thirunal through the Gayan
Samaj. It contained twelve questions.
Visakhom Thirunal one of the most
prompt men in correspondence, gave a
replay on 29th of June 1885. The fifth
question of Captain Day read like this:
"Was the air Sarasa Samamukha
composed by the Maharaja Kulasekhara?
If so at what date?"

The title “KULASEKHARA PERUMAL"
was one of the most ancient and
prestigious titles used by the kings of
the three great dynasties of ancient Tamil
Nadu, namely the CHERA, CHOLA and
PANDYA. Travabcire Royal Family being
of Chera stock, retained the title, and
was the most prestigious and revered

“ title after "SREE PADMANABHA DASA."

The kings of Travancore were very
commonly referred to as KULASEKHARA
PERUMAL’ outside Travancore both in
Kerala and in other parts of India in the
past. In fact, the supreme pontiff of
Kerala, the "AZHVANCHERRY
THAMBRAKKAL" always address the
Maharajas of Travancore as
"KULASEKHARA PERUMAL". The usage
of the “BIRTH STAR” for identifying an
individual Is a practice more common in
Travancore among the members of the
Kshathriya community, Travancore Royal
Family included. So, the usage Swathi
Thirunal was practically unknown outside
Travancore, and Kerala. He became
famous in Tanjore, from where his fame
spread as a music composer to the rest
of South India in particular and India in
general. And the name used was
"Kulasekhara Perumal” being a Tamil cum
Sanscrit title, a title very familiar to the
people of Tanjore and Tamil Nadu. It may
also be remembered that the court of
Swathi Thirunal was flooded with
Mahratta Brahmins from Tanjore, pundits
from Tanjore, Nattuvans from Tanjore,
Dasees (Dancers) from Tanjore, Artists
from Tanjore etc. In fact, even the
Dewanship of Travancore was dominated
for fifty five years by Marahtta Brahmins
from Tanjore from Venketta Rao during
the period of Gouri Parvathi Bai to Rama
Rao during the period of Sri Mulam
Thirunal.

In his reply, Visakhom Thirunal recorded
thus : "The note” Sarasa Samamukha"
was composed by Vanchi Bala Rama
Varma Kulasekhara Perumal Maharaja
who reigned between 1829-30 and 1846-
47. The exact date of this particular
composition it is difficult to ascertain, as
every year His Highness produced lots
of them. His Highness, compositions
extended to all kinds of musical
compositions, all Ragas, etc. In point of
language they include Sanscrit,
Malayalam- Sanscrit, Telugu, Hindusthani

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

and Canarese; one great peculiarity of
His Highness' compositions is the copious
insertion of the SWARAKSHARAS in
them".

It is interesting to remember that
Visakhom Thirunal's court contained such
luminaries like Irayimman Thampi, Palghat
Rarameswara Bhagavather, Anantha
Padmanabha Goswami, Halavathi,
Sulaiman Saheb, SANKARABHATTA
SASTHRIKAL, etc. who were all
members of Swathi Thirunal's court also.

d) SANKARABHATTA SASTHRIKAL

Sankarabhatta Sasthrikal was a Sishya
(disciple) of Meru Goswamy, a very much
revered Mahratta Brahmin, who
introduced "Harikatha Kalashepam” in
Swathi Thirunal's court. Anantha
Padmanabha Goswamy was his son.
Sankarabhatta Sasthrikal was a member
of Swathi Thirunal's court as a musician.
His son was the well known musician,
"Sri. RANGANATHA BHAGAVATHER" In
the Kollam Andu 1091, 1915 A.D., a
meeting was convened in the H.G.E.
School, Chalai, Thiruvananthapuram, to
honour Sri. Ranganatha Iyer. On that
occassion, the main speaker was Dewan
Peischar Sri. R. Mahadeva Iyer. In the
course of his speech, Sri. Mahadeva Iyer
said, that, “the Compositions of Swathi
Thirunal are almost forgotten now. So
it is necessary to revive them in its
original style, and the most competent
person who has not only the authority
but also a DUTY to do so is Ranganatha
Iyer,” Sri. A.R. Raja Raja Varma, the
nephew of Kerala Varma Valiya Koil
Thampuran and revered throughout
Kerala as the "KERALA PANINI," in his
FOREWARD to the book

"BALAMRITHAM" written and published
by Ranganatha Iyer in the year 1917
A.D., expanded on the word “DUTY"
referred to by Sri. Mahadeva Iyer in 1915
A.D. “THE VENERABLE OLD MAN SRI
SANKARANATHA BHATTER IS THE
FATHER OF SRI. RANGANATHA IYER,
AND HE WAS A MEMBER OF THE
FAMOUS TROUPE OF MERUSWA MY
IN SWATHI THIRUNAL’S COURT. IT IS
DOUBTFUL WHETHER ANYBODY
ELSE IS ALIVE TODAY WHO HAS
UNDERSTOOD THE ORIGINAL STYLE
OF THE COMPOSITIONS."

And Sri. Ranganatha Iyer, in his Preface
to the book recorded “THE

METICULOUS GUIDANCE AND
ENCOURAGEMENT GIVEN BY THAT
VENERABLE OLD MAN, WHO WAS MY
FIRST TEACHER IN MUSIC, AND
KNOWN BY THE NAME
SANKARABHATTA SASTHRIKAL, IS AS
IN MY CASE THE PROGENITOR OF
THIS BOOK ALSO.”

125

"BALAMRITHAM" contains
compositions of Swathi Thirunal.

6. CONCLUSION

This paper is stopped here. The idea
was to give enough material evidences
regarding one of the most unique Keralite, who
was a sovereign of Travancore State. There
are so many other sources from where
materials could be produced such as “History
of Malayalam Literature,” "History of Sanscrit
Literature in Kerala” references in the works
of other eminent Keralites, in the recordings
of historians, literaleurs etc.

THE HONEST, “AIR MINDED,
OBJECTIVE, READERS MAY FORM THEIR
OWN JUDGEMENTS. Q

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR • 1997

SRI S. VAIDYANATHA AIYAR

S. Sita Raman

Born in an aristocratic family in Trivandrum, he had his studies in the
Model School, graduated in Arts and Law from H.H. the Maharajas College of
Arts and law respectively. His father Sri. V.S. Subramonia Iyer was an
outstanding lawyer who later on became the Dewan of the erstwhile State of
Travancore. Sri. S. Vaidyanatha Aiyar followed the foot steps of his father and
started practice at the bar. But due to compulsion, had to switch over to
administrative service under the Government. In the capacity of Assistant
Peshkar in charge of Civil Supplies, Assistant Secretary, Director of Panchayats,
Secretary to Government and he made his mark as an efficient officer.
Considering his abilities he was deputed to Palace Service and worked as
Private Secretary, Secretary to Raj Pramukh and hon: advisor to H.H. Maharaja
of erstwhile state of Travancore. In all these capacities he rendered unique and
outstanding service and made significant contributions.

Music was an obsession to him from his younger days. Although he was
not a musician in the true sense of the term, he was conversant with the
fundamentals of Carnatic music. His son and two daughters are very good
musicians. His wife Smt. Meenakshi Vaidyanatha Aiyar is a competent Veena
player. The son and daughters have given performances in Music individually.

m

His son settled at Madras is a respected disciple of Dr. Semmangudi R.
Sreenivasa Iyer, the do yen of Carnatic music and a note worthy exponent of
Carnatic music. Perhaps it was the urge for music in Sri. S. Vaidyanatha Aiyar,
which prompted him to assume the role of the Chairman of Sri. Swati Tirunal
Sangita Sabha in the year 1 950. For 28 long years till his death on 1 1 -3-1 978,
he continuously held the post of Chairman with distinction. Due to his tireless
and hard work Sree . Kartika Tirunal Theatre was built and commissioned for
music and other cultural programme. It was an achievement without parallel.
Although he was born in an aristocratic family he had a very kind heart and by
his graceful and sincere manners, majestic personality endeared himself to
one and all of the members of the Sabha, musicians, artistes, public and officials.
Deeply religious and faithful to Sringeri Sharada Mutt, he imbibed in himself
qualities and virtues of a good human being. His service and helpful nature will
ever be remembered.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Cl

Sri S. VAIDYANATHAj AI YAR

Our Former Chairman
(1950-1978)

,i *8

:

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

VEENA

Amongst the musical
instruments Veena appears to be
very ancient. Vee ia is a stringed
instrument or
(Thanthrivadya). Scriptures
consider the origin of sound as
Brahman

(Sabdabrahman). That primordial
sound of Pranava "(wro)" is the
precursor and progenitor of all
sounds. That Brahman manifests
as Siva with five faces ( 4 *wh ).
Of these the fifth face is the
‘Oordhvavakthra’ (arfror) looking
upwards. This face is called
‘Isana’ and represents

am>m - sky or ether. All the
stringed instruments like Veena
had their origin from here. All the
stringed instruments produce
captivating strains and their
reverberations or Dhwani (esft)
remains for long and can be
modified by the player by
appropriate finger placements.
Even though all musical
instruments are divine Veena
holds the pride of place.

Goddess Saraswathy is
always seen holding the Veena
and the book. mftufl )

Goddess Saraswathy is the
goddess presiding over learning
and fine arts, The Veena
Saraswathy is holding is the
“Kachapi" the notes

emanating from it is considered
most melodious, but inferior to the

voice of Lalitha Parameswari,
Narada, the Deivarishi has the
Veena by name “Mahathi” fart?*).
Celestial musician Thumburu has
the Veena by name "Kalavathy"
(^firarft) Viswavasu the
Ganagandharva has the Veena
by name "Bruhathi” fttrii). So the
celestial Instrument came to
earthly Vidwans from time
immemorial. All the
Nadopasakas like SwathiTirunal,
Muthuswamy Deekshitar,
Puranderadasa, Syama Sastri,
and Sage Thyagaraja got
themselves elevated to divine
levels by sheer, persistant and
concentrated Nadopasana.

DR. M. SAMBASIVAN

The ancient sages have
described the Human body as
Veena - a Thanthrivadya. The
Human Veena has the strings
made up of nerve cords (That is
why the Nervous system is called
(Rflnrawn and it's knowledge
This human body is God
given and is thus the Daivi Veena
(£ft #ti) The musical instrument
Veena used by all musicians is
termed Manushi Veena (

*ton) . In Aitareya Aranyaka this is
exemplified in detail.

The Manushi Veena is made
out of wood -

3w tflfcw frft #>n

cK^fclaft HFfft iprfrtl |

The Human body is the daivi
Veena. And the Manushi Veena
is made as a replica of (&ft tfoii) .
In days of yore the Veena was
played holding it vertically.
Upright Human body and the
vertical Veena thus becomes
comparable. Human body has
the head - fh7:. Udara - 3??:,
Tongue • fimr - fingers
swaras - ?rcr: , touch *nrf: sound
production - Body tone &
posture - d<vfoia and the body is
covered with hairy skin. In
humans Nervous activity
produces sounds in four forms.
Of these the first three are
inaudible and only the last is
audible as for# (Vaikhari) yet
before the sound becomes
audible there are movements of
muscles and tendons,
modulation of the sound again by
muscular activity, and changes in
their tone. Essentially when the
string is plucked sound begins
and it is further modified by
appropriate finger placements.
The nervous cords are the
ascending and descending tracts
in the spinal cord and thence
emerge nerves to supply the
muscles. Again sympathetic and
parasympathetic fibres further
work.

In the Veena also there is the
head with the seven "Beradas".
Sounding board, or plectrum,

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Thanthri or the strings and they
bring out the swaras on plucking
and finger placements is sparsa
(w?f) yielding different notes. The
resonating chamber modifies the
sound to better quality. And
Veena is to be protected by hairy
hide.

So Veena is like the human
body. To maintain the best of
condition the Veena should not be
kept exposed to the elements and
so is covered by a hairy hide -
blanket or kambala.

Oldest Veena described as for
use in yagnas was called ot?
“Vana". This was a plank of
udumbara tree on which the
strings were made using Munja
grass or Vegetable fibres and
later on by metallic strings.

m <I 1U1 <A£iU Vldd-^HTWli

(Thaithareeya samhita)

7-5-92

Subsequently reeds, gourds
etc were used as resonating
chambers and final shape of
Veena must have been obtained.
Veena was protected by hairy
hides (afrwk tpf°n) . So that the
quality of Veena sound did not
diminish due to exposure to
elements and well protected.

"a ft qgfa tpfai na 4h»n

In Rgveda (10th Mandala 32
Sookta 4th RK) addressing Indra
this RK says "As the cattle
particularly cows yearn to reach

the cowshed lead by the mother
cow (or older cow) others follow
moving in different swaras, O!
Indra the Rithwiks with the stotras
in waiting, do hasten thou into the
yagnashala.

w wiqft qre ffizr
mat ap<j a i
arai tpif

ft tlVlUKjRvWl'l : 1 1

The Sapta dhatu is but the
Sapta Swaras. In 1st mandala
164the Sookta 24th Rk talks

abOUt (3I«M M

In 3rd Mandala first Sookta 6th
RK also says about car sift*
ti<d<uuQ: Sayanacharya discussing
this considers airt as tow tow
ypgftlrr ie the sound of Veena
(Vana) anra: ntcRd m i qrow

tow TOwftfa : 1 1 iethe

seven sounds are only the
saptaswaras - as the ftrrc etc.

There are mainly seven
metres or Vsifti”. By variation
many more metres are possible.
But the seven primary metres are
the most important. Every metre
has it's characteristic with specific
member of letters, Similarly the
Saptaswaras have their sound
characteristics by matraas. Vedic
Chant by way of wra arpnr , wftar
and rrra may be seen in
Tharasthayi, Madhyasthay,
Mandrasthayi and Anumandra
sthayi. The vaidik geetha of chant
thus draws a parallel with the
Lowkika geetha. The Saptadhatu
or saptaswaras of music & Veena

stand out recognised. Further
details of Saptaswaras shall not
be discussed here.

Veena Vadana is our integral
part of yagnas; different
Aradhanas and temple rituals, in
Aswamedha Prasna it is stated

MlflWt mqg: i

firai 51 I qgluu

Two brahmins sing playing the
Veena. Veena is the
representation of "Sri” (that is
Aiswarya) That gives us all
prosperity.

Let me conclude here Veena
the great musical instrument was
obtained as a divine gift by
Deekshitar. He became
immortal. Many doyens obtained
immortality through Nadopasana
and Veena id mni to} wnd

«

Just by seeing Veena sins of
one hundred births are
destroyed. By touching the Veena
sins ofTwo hundred births are
destroyed. But singing with Veena
sins of one thousand births are
destroyed.

Veena is God. Approach
Veena paying obeisense to it.
Treat it with gre&< respect and you
can become a saint.

That Is Veena

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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PAMSYAVEDt/MICT/QLH

Indian Art or for that matter, any aspect

of Indian culture can be correctly assessed
only through an understanding of the basic
philosophy of life the country had nurtured
through ages. This philosophy is bom out of
an intimate experience of the ultimate Truth
and a Vision of the mysteries of the process
by which the entire creation manifested out
of it. The Seers of India saw the world as an
expression of Truth through sound, colour
and movement. And this expression was
extremely artistic, since Nature is so beautiful
and profound. Therefore, it was natural that
man, in his own humble way expressed his
experience of Truth, Joy and Beauty through
the three arts - Music, Painting and Dance.
All art forms emanate from these three. Art
and philosophy beckon to each other as the
noblest monument to the spirit of man in the
area of enlightenment and entertainment.

According to Indian scriptures, all art
forms are inter-related and each artistic
endeavour is to experience the internal
relationship of man’s soul with the soul of the
universe, God Art. This recognition or union
evokes the experience of joy or rasa. Natya
Shastra lays down the rules to enable the
creative artist to achieve the experience of
rasa and yield it to the critic or rasika who is
in rapport with it. In Bharata Shastra, Bha
stands for Bhava, Ra for Raga and Ta for
Tala. The rhythm of sound induces a
movement of spirit which opens out as
moods of the spirit. The famous nava rasas
were identified with aspects of divinity and
particular colour was assigned to each
something like this.

Deity

Colour

Vishnu

Light Green

Pramata

White

Yama

Ash

Rudra

Red

Indra

Light Orange

Kala

Black

Shiva as
Maha Kala

Blue

Brahma

Yellow

Narayana

White

Rasa

Shringar (Love)
Hasya - (Humour)
Karuna (Pathos)
Rudra (Anger)

Vir (Heroism)

Bhayanaka (Terror) Kala
Bhibasta (Disgust) Shiv

Adbhuta (Wonder)
Santa (Serenity)

The Saptak in India music is
associated with the sound of birds and
animals-different moods and modes of God's
creation. Thus Sa is peacock’s cry, Rl the
cow calling for her calf, Ga the goat’s bleat,
Ma the heron’s call, Pa the cuckoo's song,
Dha the horse’s neigh and Ni the elephant’s
trumpeting.

From Bharata’s Natya Shastra and
Nandikeswara’s Abhinaya Darpanam of 2nd
Century on facial expressions and gestures
of dance, Markandeya Puranam and Vaayu
Puranam, the classical music of our country
began to move in different styles and
directions eventually establishing in two great
styles the Hindustani classical and the
Karnatic classical. The raga system
developed continually over the centuries and
is our main cultural export today. The art form
of raga system is firmly rooted in Nature and

C

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1897

>

Cl

all its manifestations to invoke innermost
yearnings of the spirit and mind of the
individual. It has solid foundation of theory to
survive through ages. While the scale of Raga
remains constant, the individual artist
approaches It ivith his own insight. This
Sadhana is a supreme act of ego surrender,
of merging individual identity into the object
worshipped. The famous law-giver
Yagnavalkya wrote "One who knows the
principle of playing the Veena, one who is an
expert in Jati (ragas) and has the mastery of
Sruti and Tala attains to Moksha”. The famous
18th century saint musician of South India
Sree Thaygaraja declared “Music is yoga.
Moksha is impossible for one who has no
music in him”. The compositions of saint
Thyagaraja, Swati Thirunal, Dikshithar and
Shyama Shastri inspire in the multitudes a
single-minded sense of devotional uplift just
as the visions of natural beauty create in us
the pulsation of divine emotions. Ultimately
as the Sadhaka advances in his art the Bhakti
bhava vibrations are transmitted into divine
understanding. Real hearing of music starts
at this point of listening. Nataraja dances in
Chidambara with the Mrityu lying prostrate
and subdued underneath his right foot holding
in one hand the resounding Damaru of
creation and in anotherthe fire of annihilation.
Both these opposites meet here to become
meaningful in the cosmic dance that keeps
time with Shiva’s resonant beats and
thundering of His dancing feet.

Music and dance are living forms of
worship to our culture. Music was never
separated from Bhakti. Meera Devi, Sant
Thukkaram, Purandaradasa and many
others are shining examples of Bhakti cult.

Music principle and spiritual awareness
through Bhakti are profoundly merged to the
Hindu view of life. It is the very breath of life
itself - Prana. Music is an instrument in the
realisation of God. Synthesis is indeed the
genius of India view of life. Nandikeswara,
Narada Muni, Matanga, King Gunasena,
Sarangadeva, Venkatamakhi who
systematised melodies of 72 primary scales
of raga, Jayadeva of Bengal who brought in
Tala controlling factor in vocal music, Amir
Khusro, Tansen, Swami Haridsas of
Brindavan, Baiju Raja Man Singh Tomar of
Gwalior, Bhatkhande contributed to the
vitalising of different styles of music and Raga
system including gharanas, Drupad singing,
Khyal and Thumri. Muthuswamy Dikshithar
and his pupils Chinnnayah. Sivanandam,
Vadi Velu Pillai set a standard for the practice
and theory of music and dance and kept
alive the cultural heritage of our country. Their
counterparts in North India were the Tavaifs,
Bais and Ustads. In Andhra Pradesh the
followers of Bhakti cult started a dance drama
which came to be Called Kuchipudi. In Tamil
Nadu the followers of Bhakti movement
started a similar type of dance drama
Bhagwata Mela Nataka. Tillana is an
adaptation of Persian word and added to the
dance styles. Alaripu. Varnam, Padam,
Tillana are the essential elements of Bharatha
Natyam recital because of its rhythmic
structure.

Tagore's great song sums up our
philosophy. "Every moment the verse comes
from the heart of the Master, it is breathed in
his breath. Every note of song comes from
His voice. So ourselves must be born every
moment of life.” □

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

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Tal-Vadyas of North India

Prof. Manohar Keskar

The Indus-valley Civilization is perhaps the enriching the art and science of music.

oldest among the ancient cultures of the world.
In the course of a long history of more than six
thousand years, it is natural that a process of
the evolution of thought, ideas of good, bad,
beauty, nobility, etc must have been a continuous
one. The structure and the patterns of the
organization of various social institutions must
have gone through some changes. The bases
of social relationships and the concepts of
obligations and return of gratitude are but the
inevitable expression of the give and take among
the different groups of people and communities.
One way of giving expression to the emotions,
feelings and mutual understanding between

The social, cultural and political events of
these ages are all inter-connected and reflecting
influences on one another. Two distinct styles of
classical music evolved as a result of these
events in the south and north of the Indian sub-
continent. Historically, the period of Mughal rule
from the thirteenth to the seventeenth centuries
was mainly the era of the birth, growth and
development of the Hindustani music of today.
Particularly the last two-three centuries have
been the zenith of the art of Hindustani classical

music.

On this back-ground, it is very interesting to

communities has been through festivals of see ya^y 0 f percussion instruments that
various kinds. have b een usec j j n a | ar g e var jety 0 f musical

. , , .... , . , compositions in the North of India. The main

All social occasions, such as birth, death,

... , . ... instruments are 1 . Pakhawaj, 2. Tabala, 3. Khol,

marriage, harvesting, seasonal changes, religious

......... , , 4. Madal, 5. Dhol, 6. Dholak, 7. Dholaki, 8. Kada,

rituals, victories of the royal adventures, etc were

... , , , 9. Dhak, 10. Nal, II.Nakkara, 12. Dhol-mandri,

accompanied by celebrations and festivities in

... . . ... 13. Kram, 14. Tasha, 15. Nadrin, 16. Duff, 17.

which music, dance and singing played the

...._. . . . . Daki, 18, Khanjiri, 19. Damaru, 20. Deru,

essential role. These festivities invariably started 1

....... 21. Ghumaru, 22. Math, 23. Chang,

and ended with music.

24. Karachakra, 25. Mortal.

All social occasions, such as birth, death,
marriage, harvesting, seasonal changes, religious
rituals, victories of the royal adventures, etc were
accompanied by celebrations and festivities in
which music, dance and singing played the
essential role. These festivities invariably started
and ended with music.

In the known and recorded history of the last
three thousand years, we have proofs to show
that the art of music has had a long tradition
with many contributions from time to time,

These and other instruments are in use for
a large variety music compositions that include,
1. Hindustani classical - Khayal 2. Dhrupad -
Dhamar, 3. Thumari & Tarana, 4. Tappa, 5.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Dadra, 6. Hori, 7. Chaiti, 8. Kajari, 9. Chaturang,
10. Ravindra Sangeet, 11. Bhajan-Keertan,
12. Lavani, 13. Kawwali, 14. Puranik sangeet
15. Vaishnava sangeet, 16. Odissi Temple music,

17. A great variety of classical dance music.

18. A large variety of folk dance and folk music,

19. Bhangra dance & music of Panjab. 20.
Garba-Ras & Dandia-Ras of Gujrat 21. The
songs and dances of Hill-areas of the Himalays,
and many other forms. 22. String and wind
instruments such as sitar, sarod, dilruba, violin,
santoor, veena, flute, shahanaee, and 23, other
instruments like Jala-tarang, kashtha-tarang,
tabala-tarang etc.

The prominent Hindustani Tals used in these
varieties of vocal and instrumental music, as
well as dance varieties are -

1. Ektal, 2. Teenal, 3. zhaptal, 4. Chautal,
5. Sooltal 6. Ada-chartal, 7. Dhamar,
8. Dhrupad, 9. Zhumra 10. Tappa, 11.
Thumari, 12. Dadra, 13. Kehrwa 14.Teevra
15. Jat-tal, 16. Kawwali, 17. Addha, 18.
Deepchandi, 19. Dhumali, 20. Panjabi,
21 . Tilwada, 22. Rupak, and 23. Sitarkhani,
for classical vocal and instrumental music.

In Ravindra Sanaeet of Bengal (including
Bangla Desh) for which Khol, Pakhawaj and
Tabala are used, the common Tals are -

Rupakda of 8 matras - dha tlna ta tiTa

kata dhina tiTa dhina . 4. Nava-Tal of 9

matras-dha tin ta tf]a kati

dh age tQ^

5. Ekadashi tal of 1 1 matras - dha tin ta
10a lsata gadj gjria dhage tiTa Jage tjla.

In the Assam music tradition, Vaishnava
Ojapali and Puranic sangeet are the two
major traditional styles. ‘Khol’ is the main
tal instrument. Other instruments are
Mridanga, Mortal, Manjarital and Nagada.
The main Tals used are 1. Ektal, 2.
Parimath, 3. Rupak, 4. Varayati, 5. Unayati,
6. Kanayati, 7. Taktal, 8. Domani, 9. Timani.
1 0. Charimani, 1 1 .

Dhashbari, 12. Manchok, 13. and twelve
varieties of the Ghemali.

The Bols used in these Tals on Khol are
like - tak dhini, ghei - gurgur, dhin na, tata
khita, ghei dao, thei thei, rao diki, tata khir-
khir, dhidhi nak, etc. The khol players play
a very active role in this music along with
the singers, who usually stand opposit each
other in groups. The compositions of the
15th century saint poet shankar Deo are
very popular. The dance varieties are
Shrikrishna Nritya, Chali Nritya, Sutradhari
Nritya, Khala Nritya etc.

1 . Zhampak Tal of 5 matras - Dha deg la IV. In the Odissi Music and dance of Urissa or

tita dhina : 2. Shashti Tal of 6 matra
dha tita dhage tiTa dhi na .

Utkal state, Jayadeva's Ashtapadi, and
other compositions mentioned in ‘Geeta

SRI SWATI TIRUNAL. SANGITA 8ABHA SOUVENIR • 1997

■4

Prakash' of Krishnadas Mahapatra,
'Sangeeta Narayan’ of Gajapati Narayana
Deo and NatyaManorath’ of Raghunath are
popular. The prominent Tals of Odissa,
played on the Pakhawaj or Mardal, are - 1
Adatali, 2. Zhalla, 3. Sarinam and 4. Pahpat.
The Adatali is of 7 matras, but unlike the
Roopak Tal of Hindustani, its divisions are
4-3, i.e. 1 -2-3-4/1 -2-3 with Bols like dha 35
dhi na/ke lira kiTa. The zhalla tal is like,
Dadra Tal and is used for Druta laya. The
other Tal-laya instruments used in Oriya
Loke-sangeet are Tumba, Ghudki, Pangu,
Dhol, Kathi, Tuila etc.

V. In the Manipuri Music and Dance traditions
the Vaishnava - Rasaeela Nritya is the most
popular form. The other dance forms are
Laiharova, Uingacholan, Isaricholan,
Abagari, Hagel, Sanghvi, Kabui etc. The
laya-instruments are Khol, Pakhawaj, Dhol,
Mridanga, Manjira, Ghanta etc. The main
Tals in Manipuri dance & music are

1. Tancham of 4 matra - Ghina S khar /
khar ta dhina dhina ta.

2. Menkup tal of 6 matra 3. Rupak Kanta
of ten matra, 4. Triput Tal of 8 matra,
and 5. Tanjau Tal of 14 matras.

VI. The Keertan Gayan of Bengal has a long
tradition, and in the "Shri Padamruta
Madhuri" by KhagendraNath Mitra, there
is a mention of 108 Tals used for Keertan.

The main Tal-Laya instrument is the Khol.
It is not possible to give the names of all
these Tals for lack of space. But it may be
said that they are based on the same
principles of the Hindustani Tals of 4, 6, 7,
8, 10, 12 and 16 Matra structure. The Bols
are as they are played on the Khol with
phrases like - ta, zha, na, ghena, gurgur,
taurur, thwena, tathe, nita, jaja nak, khikhi,
dhin etc.

The popular Tals in practice are -

1 . Chota Lofatal • of 6 matras - druta laya
tau lita khina . zhay did a ahina

2. Pancha Tal of 1 2 matras, 3. Chanchaput
Tal of 8 matras, 4. Dhamali Tal of 8 or
1 6 matra dhin dadhin dreae tin, lin tadhin
dreoe dhin . 5.Thumari of 8, 6. zhurzhati
Tal 6 or 12 matras 7. kehrawa. 8.
Kawwali, 9. Ganjl Tal, 8. varieties of
Daspahira, 9. Pot Tal,
1 0. Kata Ghara Tal etc.

Let us conclude that the tradition of the
North Indian Music in different states is
very long and deep. It will go on enriching
itself with every generation. Our culture is
all-inclusive, so with any amount of new
waves of temporary influences, it can't be
lost to the posterity. The heritage is a
constant source of creativity for every
serious and sincere artist.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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OUR for a bright future

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The 184th Sri Swati Tirunal Jayanti

LEKSHMI JEWELLERY

I Dealers in 22ct Gold Ornaments I

Rajadhani Building, Fort
Thiruvananthapuram - 695 023.

Phone: 470609, 470949

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CUIT^pa «5|6U(T 5(TLDU), cuiT^pa
5iblip.

o

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Ragam
Ata Talam

Pallavi

Anupallavl

Charanam

SWATI TIRUMAL VARNAM

J

‘ f

Saveri (Janya Raga of 15th Melakartha Mfryamalayagoula)

‘ H ' Aro

Vanajaksha ninne nammiyunna
Vanrthapai inta modiyalara
Ghanudow Sri Padmanabha
Karuna seyarada na pai
Madana janakudow

Aro

Ava

srmpds
: sndpmgrs

Pallavi

lift

1 T I f

d , d ,

s , , ,

va - na - ja - -

r r s ,

r r g g r rgg

ksha- - * - - - -

r , , ,

nin -

r r s , ; r r $ ,

ne - -

* —

rsrm p0p, mpds ndpm
nam- - - - * mi - yun

g,,r grs, ,dpm grsd^pmgr

na - - -

-vam-

tha -

py *

s,nd rrs, rsrm pdp , t pmpd

in - - - tha- -

mo - - -

r

- ■ di -

s , r ,
ya - - -

n.dpmlgrsr r d p

- t**

g , , r grs,

ra - - -

Anupallavl

lift

P . . .
Sri- - -

itit

tilt

ddp, srmp dmpd

Gha- nu - dow

mpdm pdmp ddpm
pa dma ....

p , , , ' pmnp d , , , d p d ,

na - -

bha

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

fil

s , , , r r s , rsr, srprti 9 r s ,

» ■ «

se -

ka - ru - na - - -

s,rs nd,, dpd, 9 r r , s , , ,

g'r r g r d n d

py

ya -

ra -

dmpd s , , , pmpd ndpm

da

Mukthayl Swaram

r.r, grrs r,gs|

,rsg r,sr ,snd rsgr ,sm,|

|grsp , m d , | p n , d pdmp

||dm,g rsnd rs,m r,pm , d pd I
|sndp dmpd srmg rmpd n d gf |

d p m g rsnd

snd drs, |ndpd

(Vanajaksha.

, n

Charanam

( 1 )

i i ? i i i i i

m , p d p,,n ddpm
ma - da - na

P . . .
ja - - -

iii?

mpdm pdmp ddpm |

na -

- - ku -

sr,r m,pm pd,s ndsn
dow*

(2) dp,n ddpm pmpd p,,n ddpm
Ma - da - na

P , , ,

ja - - -

i i ? ?

mpdm pdmp ddpm
na ku

I sr,r m.pmlpd.s ndpm

dow

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Ethugada Swaram

0) P»»i . » rn f , i g , » • r t , v s ,

» » f > g i s f r i i i * i s t n , d i

>iP> • > d , s , d , i i s ,

r , s , , , r , (Madanajanakudow)

. n p

d m p d

P . .

, s r

, s n d
■

r , r

mgrs rgsg

m , m r p , p m

pdfs ,ndp nd,d pmdp

, m g r s r m p (Madana jonakudow)

(3) s , , , ,,sn nddp dnd, np,d

m,gr s9r, s , , , ,,rr smmr

ppmd dpnn dpdm pdpd

d f f d , , f s

i i

d , p d , n d ,

np,d m , p d rsfrh ,grs gr,s

rrsn dpdd pmgrsgrs

ndsr mpdn (Madanajanakudow)

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

( 4 )

i > >

, , r g rsnd pds,

i»i»

ndpm grs, rsr, mrm, pmp,

dpd, sds, rsnd pmpd

s.rg rsrs ndp, dndp dpmg

rs.r gsrs n d s , rsrm rmpm

pdpd sndp mgrs rmpd

srmg rsrm pdm, grsr mpds

ndpm grs, rmpd s.frh gfsn

d , pm pdn, dpdm.grs

n d , s rmpd (Madanajanakudow)

Presented by:
- Veena Vfdwan P. Harlhara Aiyer

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

SWAT I TIRUNAL PADAM (Manipravalam)

RAGAM HUSENI (Janya of 22nd mela Kharaharapriya)

TALAM : MISRACHAPPU

Aro : spmpndns

Ava : snspdpmgmpmgrs

Pallavl :

Ayi Sakhi Thapamayyo sahiya jnan
Ayi Sakhi Thapamayyo !

Anupallavi

Priyamiha kupithamme preenaya batha neethan (Ayi Sakhi)

Charanam

(1) Seetha bhanuvennu siva siva sasadharan
katharakshi balike kalithanayennal
athapamathupole hantha thapavumeki

veethamodayayathum vidhimukhi panichollan (Ayi sakhi)

(2) Paridathilokkave banamathu kondallo
veeranmareyyunnu vidyullathangi
nerethadoru gunanilayenen kanavan mam

charu gunathal thanne chathi cheyyunnitho dheeman (Ayi sakhi)

(3) Sanka vedinjullil chaduthara vachasa
sankadam priyanodu sakalamme cholli
enkaloru karuna enkilo viravodu

pankajanabhanthike bhamini Poka neethan (Ayi Sakhi)

V J

f~ \

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

J

Pallavi

» I 1 I ® 1

s,

s, S •!*

Piii

• . P .

n n +

s n n » d 1

.... A .

yi

sa khi - • -

tha - - -

- • pa -

- - ma - - -

d ■ P * ’ •

yyo

i j i i » »

yi - sa

d P

sa -

mgmp.mmgr.r, ,g

- ya

- khi -

tha -

jna

( 2 ) I 's , r , n , s , , , s , , , p , , , , , p

pa

, c n n d d ,

- ma •

n , s , , , , f

ndp , Jpmgmp ,mg r

yyo

sa - II hi - ya - - - jna -

( 3 ) mg.sr.g.m.pnjp mgrnp.mmg

n A

sa - khi -

tha -

pa -

r , p m g r
- - ma - - -

r g s ,

i » i i i i

r n s ,

r, , , , , r , g m r , g ,

yyo -

sa - hi

jna

s , r , n , s , t i s ,

i i

P . .

i i

, p , s n n , d

yi • sa

- khi -

tha -

- pa -

- ma -

d , p , ,
yyo - - - -

i » i i i » • I i

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

Anupallavi

• •

, , p .

P .

s >

•

* » s • »

, n

r s

n d p ,

, . p m m ,

- - Pri •

ya -

mi -

- - ha - -

- ku -

pi -

- - tham -

- - me - - -

P .

, . s n n • d

. p .

+

d

p m

g m p

, m m g r

. m g , ,

pree -

- - • - na - -

- ya -

-

- ba

- tha -

- - nee - -

- tha - - -

(2) s

. d n

i

s

1

■

r ,

■

g

•

r

«

s

r

•

s

t

i

•

n

- pri -

ya

-

mi -

-

-

-

-

ha

-

-

-

•

s

n

■

s

» a

r , s ,

n d

p p m m ,

ku

-

Pi

....

tha -

- mme - ' - -

P .

f » »

fr

s

n

s .

P

P

n

+

d

P

m

g

m

P

, m m g

r ,

mg,,

pree -

- -

-

na

-

-

ya

-

-

-

ba

-

tha

-

• - nee -

-

tha - - -

n - pn - ya

•

m > P m

m •

g r

s .

%

-

ha -

-

n s

•

r .

• • •

g r s .

r s n d p

E

E

a

ku -

pi -

-

- - tham - -

- me - - -

P n d n s » s , rsndp, , t

pree

na

ya

s n

s P

+

d

p m g m p

.mgr

ba *

- tha

-

- nee - - -

- - tha -

9 s r , n , s , , , s ( f

n a

sa -

- khi -

( ~

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR • 1997

\

Charanam

- 'Vi7

- - see - - - tha - - - bha - - -

p,p,snn, d ,p, i i

si - va -

- va -

s l r,g,m,p I pn d p

- ka -

- tha -

* i s , s , p , i

- - ka - li - tha - -

S p m

na -

, , p , .p.snndd,

- - a - - - tha - - - pa - - -

i ( d n s , i t s * * >

- - - - han - tha - * - tha - - -

. . P , . P . ,;!jpm

nu -

- ve -

- nnu -

mgmpmg, r , r ,mg,
sa - sa - - dha - - - ran -

ksi -

P . .

m

p

i m

g

r

1 r g

ba

-

-

li

m

- ke -

•

n n

+

+

i

s

i

d

1 d 1

nnal

n i s i i t s *

ma - thu - - - po -

s n r s n d P .

pa • vu * - - me -

i i i

i i

Siii

le - - -

5 p m

i

, m ,

P

i S i

i

•

i S i » i

-

- vee -

-

- tha -

-

- mo - - -

p

. P .

•

s

n n ,

+

d

i P i i i

vi

- dhi -

-

mu - -

-

- khi - -

s

, r ,

n

i s ,

i

■ ® i i i

n

, A -

yi

- sa -

-

• khi - - -

S n r s n d p , , ,pmm,
da - ya - - - ya - - - thum - - -

mgmp.mg, r , rmg,
pa - ni - - - cho - - lla - -

Note: d denotes sudha dhalvatham

Presented by:

*

Prof. P. R. Kumara kerala Varma

a

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

HINDUSTANI

MUSICAL

COMPOSITIONS

OF

MAHARAJA
SWATI TIRUNAL

%

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

anrer.

3r=nr.

?. TFT -
3TTf^-FTH

FTT#t - 3TFF 3TF dl# F*TT^ I

3TFTT " (?) TFFf^RTFF % TT ^.^nfrl #tdl

FftjF g^TFtl
TFT FTF 6(<o W TTJT

§Fl4t 1 1 aRF.

(^) FTF M N FF •HMH FTFF ^dd FFIFt I
TFT TTFF - Fit, 3TTJT FF Fit, TTT
frtflFF TTFt I 3FFT.

(^) FTF F#FT?FT FTF anTrft f^T FF
4 1 R$F TTFt

TFT M<**HIF 3Pj! T T>f^T FT FFft
RTgFF F>ft 3TFfh I aTFF.

(FTFT# - 3TFhFT # FFcT-FFlf FT «(Ml FF TTsT # I
TrF-fttFTFF FT TRFR^t TftFT-+lRF f#TTTFTF f I
FTF-cRFF TTF <sl-^ FFT let f I FTF FTF % FtF
FFF-FTF FT# f 3#T #FFT FT# FFT# #1 TFT ^
TTFF #t ft Fff, FT# 3Rjtf F# ft FTTT 3#T f#*#FF
F# FFTTRF f^FTl FTFT +Wll # 5PJ #t eTTTrft
FFTftl FF FTFT #t 3TTF ft <jft §f 1 1 #FFTTf
TFFFTF # f#^FF #t TJ*F f#FT t)

T. TFT-^FTT

3TF Ft #TTf#F Ff antft # Ft
3TF Ft trrPtF Ff I
#F f#FTT FTg F% FT#

TJ*F FF *JF F# 1 1 FF #t.

FF Ft F#t! 4 f%TTfjHt F#t f I #F-f#FTT
3TF?T Fff HFFT 3#T FT# ?J*T F# 4 *JF #£t

3 . TFT-*T*FT-#> <r*T lf^ I

3TTrTT?T

FTFft -

FFTT -

arrj FT# FTTF Ft^F TTFF 11 ^ ^F«t
(?) Frcj^t" #t IJFF> FT# FTF FFF ddT

cTFtl

FT# FTF ^s*l #t tJF rlR# FF>

SJJ3 FFfll 3TT5

(^) FTF T# Ftft, FTF #FT #F # #

ffiRhI' I

FT# TTFF f^F FFF FFF FFF

FFF rtf 1 1 3TT^

(^ ) FTF Fl't FF>^t d iR f?tTF»F FF» rtt

FFt f^TFlRrd

FFif^TvT f%TFT Tt Rid FF> FF>

hm! - arrj

(y) F^FFTF g^rtt^tFT FFTF^#FNrt
FFT F3F>3 FRTt FIFT Ft 5FTTt (JF ?Tt 1 1

(FIFT^f :- 3TIF Fl^F FTTF TIFF^FF 3TT# I

FT^ft ^t ^F FR F F F ^FT^ ^tl ^F FT FTF

I

^3>e dR>d FtF - T?T FT I ^ Ft'ft! % FTF ^-F»T TIFF
}t FTF T^ - cTr^-FF^TF FtR - FT# #1 F^FFPT
#tFT FT F#F %# FF? ? F« ; FiT # rJ^lO FTF
# 3TTFT f I ?FFT ?TF FFFT 3W1 ft F#=r t!)

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

y.

- 3tf»t ^414 3n^ <si<o) hR ^i j Mi

<|'»Ki'»i Ml 4) RlRqiO - 3TT3T.

3TrTTT (?) «?>4ldH *f TT^ - R«*H

srpt 3niT d4 Rr-^h-viO 1 1 .

(^) 3TRR zfrut ^ TfrT RT^t

^ rft diRY t&, 3R- *rfc 1 1

3TM.

(3) M<J5«fPT ^ *T*#t

mI'TIhw rT«i^ - 3rr»r

— ■ ■ ■ ■ «■ A i i ■ mm >i ■ i ■ ■ ■ ■ ■ " ■

RTCRfc- 3^t >M! 3TF5T d«KM ffiRnifl Ml41 «TC$MK
4m ^TTT 3TFR MT *3^ ^1 >s»l4» 9>ldd
T TTHf RT €faT HRT t, 3T^ RT RRl3<?R STSiRT
fdMi ^1 ^l4 Rid4 qin 9>59><. 'jq?14 ^

drT ^ I rft TTrTRT ^TFT T^t «ft 3^T #

h^tt wt rrtI w£t\ nt^t 4*w\{\ ^ ^

RRRT f^TT!

(\) tu\ - (^ft)

'suftain

ftt^V - 3tft f^rat s*rrt

STrRT (?) cT \tt ^Tfft cTRTT «M$<U RIRt -

3TFT.

(^) "3 T * ’jq +RtRI ^ T^T qqi*
#3T Md^ J l TS’FRWrT rl*6lO -

3TPT.

(\) 3TrR 3T^T ^cTR HRl3>

ifar +ilO # *rt|f Rf^T RTTfr - 3TTR.

(y) McJRHTR 5PJ Mrf&n7 9TFft

RUT Rtff RTR Rrk) - 3TR".

(*nRPf - ^ f^r! 3TT3ft fiRrt! 'znt R^farc! ^r

3P?T*t ^Ffl - I gjfrt 7RRSW 3 ^RT ^JR^ #R
qq|* 3^T WT Rwi<s> I 3TRT, <n4K 3^T J jdiq RR
RT tj*eR q<?*1 TT ^T ^ I ^5) lz nT ^ <t>oi/l ^ q<1

mttH m>R|!mi41 m^m-tivt! ^ jttt ^tt Ttll)

V TUI - ^T^t

3nf^n?r

FTRft - 3TT^ PlRtK 5Tt ^ WWl

amrt -

(?) 3T3R - 3TER" nc!IC q®iq< ^HT ^474

^rT 3Tft

RTT JPJ qd q>R4> ^T

f^TT ^ (4<Hl4 -

(^) f^T 5«T M1H R<Hd 3 fST

4qi

5HT qiO q<>q*i q»r.4> >Hn*

TT^ -

(^) TT^TT ffrnTTT ^R ^FT % WIT fM

RRy grpr # M?T MTPfr
I# «ft M»T % TTPft

TTTNT - 3TTt.

(Y) % ^TRT 5 :^ % (4^I'C«I IT^^T

gRft tpT ^
'T^TTHT 3T5 4 )R|M<!<m41 +1Rm^H TR

- 3^.

(0

(^trt 4 - *TtfV! ^ tt R i Rtn^Y srtfl ^ff^t

T7TT 4 3nt iffalrT % wWf TT 3T3^T f *TT^ ’TT M5RT

3fk 3Tra^ # 41fT 4t I SOcft <R 5TT T%T

*TT I 3||RiMH UT ^ ftrTT «TT I TTrT
4 f^>TT 3^<n 3^ ql^Ml R*ll , Mdl I

sRNHI <5M+< fiR %TTT RldflT ^? ?RdF

Rrr frr, mhI^t # trtt jrtjtt Rr^ 4
3lcftw ^ 4Y % HT£ft ?rNt %

3>*€dl4 , f^>T 4t 4" 3TT^ I

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

I

vs. TFT - ^

FTFft - an^ft t rft FgFr ff ftff Ft
FF 9FTF gFT g Ftl

3TrTTT -

(?) F^TF %f*N? tftH ft<Md

tigO Ft dlFd FTF Ft 1 1

aTFft

(^) gtFF % hf stf mt stf 3Tt

' I FFT FFT # Ffeff Ftt apjFFttl I

3TTeft.

( 3 ) Ftt fffftf srg 4>ftmyn<

Ftt Pt^M Rdl+^41 1 1

3TFft.

(FTFPf - w£t\ t eft FgFT FT Fltt FT# Ft eft 7FTF
g«TT t ttt ft' FF% f^TT FT Ftr W t 3tr
affot FT dig-fl t, f$FT# Ft FTF PtFTeTeft tl t FTFf
% FTF TT«p 5TF Tgt ttt t rft TT^T ^PT xRT tl
FFff *TTHf t t argFFF Fteft ttelt tl ftg*TF FT
SFT 4>Rmi4t F^FFTF ^ft g£ FFFFF %

#FF t FFvfiTT tl

6. THT-

pntt - Frart gPft ttt

ff ft ftFr ft^h

aTeTTT -

(?) FtFT g*F ttT cFTF ^frtt
HF ^TRT FTTT FtF ^tfptt

fh FgFT Fft ft%

Ftt ft jar 1 1
( r ) wit greft Ft ftft

Fet FF FF % dim
Fit FF % Ft d<HI<n

gt %t Ftf cM^I'fl'l I

F^ft.

(^) d=T eTl'l'l FdM ?(4 t
5Tt FF rTTT 5TF FT t

T$ 5P| % ftttF Ft
$>ft 5F^f Ft wtft Tt I 1

(y) Frtft FftFT g^rrt tr
3J1^ »itfl n)+ dl fW?
dit> =id ft (tel nggn
tlli ft •M I I

3F*t.

swt.

(FTFFt- FSFtt! tTTFtF gf^ll! FFtfoF H<^l

Ft t ff t FTtf t FTF-FFft ^)f Rft I Fit ^ftf-

FTFt *pt fFT I FfFT FF 3fF ^ftf ’TTcTT I c XZ %

*r£t ^r: tf f^nt tl tf 3ig0 aftr ^

'TT SIT felt 5RFTFT ^T«r zrST t fpff t ^Ttt ^TT
1 1 ' J ft =Hm^l t 'K'llRtl *il(tn Ft

t g^ - «P?t geT ? ttg^eT t ^R% «pi tt % R»i t eftnt

httt hfttf gr garr I tt ^rg % ftr? t rT^rt
tl t %t 5FTt ftFT ^T T?t t? f^Frtt FftFT

jw sat t atr tkif g^ff t Rh^t Rft
» rtf aftr fwR% FeT t HTt JTPft tn*i t ^T%
g^nf fnt?r ggng!)

TFT -

rflciH

Wi«n - c i>t' u nPlMi r i 4IOUI % Riki/I

- wmftFTF fa=r t ftg T ff

g^l'O Ftft eTFTT ttt Httelft 1 1

3RRT -

3^ft

(?) ttt t gr ft gft ttt
h)^ F^ tll.O WF ^5f Fpftl I
(r) FF 7FTF g*TT rTF t^tt
FFF FFF % t F9FF FTttl

( 3 ) Ffr gfF tldi=K Ftt
f"3?T t F fel^ l O II

(y) ^RRFFTFTFFF FTt

fw ft fN4f Rrft mfril

F^TT.

F^TFT.

«t>* u il.

•FTFT.

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

(^) q^Ti'T snj ^RiT<7n41
^TfcT-^T TTT T£Uft I 1

< |U I I .

TRlt - t +^u||vffH ^rg^T- j=f-f%Tft! rJHil -0 TTCjfl
t t^T *FT 5T frRTl ?tl ftt t $T, TT, *jft aftr
sMHMIH ttf l WW 5fJT 9T^k ^ar^R^
^FT % %:W T# I tk-xjJT-ttcTFR 3fk |^r tl

yfhrr qq t Ryn< f I hffft qn - ^pt fr*

WFTrTT tl Iptlt T^ *R ’fhtn qt?T 33T feFTT «TT I

TtwFft q^Fmr tl ar^crer-twR^, grr^r % srrr

tl)

? o . TFT -

3TlfaflM

(xbtft)

- qq^r q«r *r tl ant
qtl anft ft thft

FTTtl

3FRT -

(?) tfarT «ft SR 3nt nf^T t TfFT tl

3TFT Ft

ftr Tft %T ^T Tft ft?T rFT *FT

ftq*r nt - qq^r.

(^) % j^FTf^FT tl FRrT rTFT Tt

«TT% Sfft ^ PU<£(d ftnftT tit *TR

nt - qq^r.

(^) tr T<Md tlf*T 3<n^d tv *tl
t^*hi*t snj Mi-Rmvii41 gn ^t tpt

^rt- qqx?T.

’TRit - arfr nxtfl tffl! |?arr «r- nr t ant? tlkl!
anrt ^r qr ara - 1 ttft «fl nr t nqt t anqR qt
ntl ^TTTTTttk, %FT

f I f^^FFT at jsFTfotf t tl^T qt T^ rTFT gr TSTft

tl Tdtt tbTT TRT tr HfR-tli ttf%?r tl t nrt
^ot ngqr t yftfWd % tit tt tl t tit giT yr
tit qtl

? ? . TFT-f^3fl£t

3TTf^TTH

qqx?r t ^nt tr^fl *ft tit ttr t
^rrarJPTFT^nttT^TT#
nt tfl *FT tl qRltl!

TFT -
3TTf^TFH

FTTtl - fWHF^ TTETT-XFT-tl^T tt *FT tl

ftrntl tl

3FRT -

(?) tk ft^ qtt +I«MI Tft qR grtl

3T Hid rif)

^RN< % ^R ftTTT qRcT SPJ t*

gttar WT qtll

f®T.

(r) fFT tk *FT HHN^H f^T?fl

Wf^T^FT t

«ls1 ^Rlt tlrFT ^ ?FT afNcT tit

angapr til f^r.

(^)

M<^*HI*T snj ’tt <R TTTtl TT ttl

ItdqH t

ttl rftn tlft gx?rfl xrft ^ft ^^nt

xpft^FT til f 1 ^-

('dNlt - t M % XFrtte^! tt kn t T5l I

ftr tt tk-gfd, fnrr qr qn^Ffl, fpr t qtgfl
afk ssIrO qT oRFFTT 1 1 TFT tl q^TTqft •JHJ
qrt 5nj tl ^xqt ^tht ? gft TTTFr qr xqt 1 1 TTftr
TFT tl q^q fFT ttSTT dRd< u l1 t ftrq TFrfl # ft
^qrl RfT tl tltl, ?F 3TTgtl t 3TtqH tl Ttt f I
3tt 5^rrfr tlk tlft tlcTR Tf% tt tftq tl 3FT»Wlq
t! ?r Tttf t fr q?r i)

SRI SWATI riRUNAL SANGITA SADHA SOUVENIR • 1997

«*SS!

(mm)

rft % f^PTT, ^r '»rra>

f?T ^TrFT ^ FFT ^ 4 rft *T^

c»|d^

*TTfa>rT *T^ rj\

t f*FTT

?Y. TRT-f^T^t

3nRaK1

(^tt)

*TrT wt ^FT #, ^rf RT^t
rPT *FT ^ rFTt ^ ?PT

FTFft -
atrTTT -

TFT-f^T^RTRTX

(1^)

■qlci<) J'jH f|*T 6H f^FT j#<< i-h
(?) ^TT t ^ zrfrf ?ftT

- =*rf^.

(^) %# jflfr # rtf’ M 5FT -

■qfai) .

(^) +1$<H % 5rtcT f^TT ^TT -

WWlM

(W*)

^TFft - 'jPJ'TT f^TT% Rlt <
=n ^ > '0 |

* • • • * i

snpr.

3TrTTT

(?) *Tk AN? *\3 F7HT W^TjfcT $S?T
MJilR+ *J*FT fl^TT &T cFT $ ....

-T^TT.

(r) M^HHI’T FFT 5PJ

Jil'Hnm Ptfon: TFrt jpt # ....

^TT.

?V3. TRT-*FPT-<*<rm' , n

FTFft - 3R 3R ^ 3R- vHluM'Tf «RT WT flWtft

r

atrRT - (?) «r «r ^rarnft wt ?reWt f^rr

W

00

^ #t TTRTT 3FRT 3TTTT RTTT

3 R.

SW+Mef ^>T f^TT^ OfT^f R#

T TT^

WFT f^VFTrf ^RFF ^ gfrt

^FTT^II 3RT.

^ wf rr f^nr gr rt

RRlf

T^'RH I R-SHf-R^R-R 0 *?J-^PP % RR

rt^II . rr.

? £ . TFMjImH
3nRrtM

(®ttr)

RT3ft RR cJR RT^R RTHR ^ RTt!

3RTT rFT# ^FT ePTRfj, 3#^ ^TFT 3T^tT
^TrT «<1*K # ^Ffr %# f^T ^ftT I

?^. TFT -
tlldh

FTPft - ^PT % m(?I ^ r fi , rTRT % M(<^ ' T 1 r s;
f^TT % ’TfrT «frn%T 1 1

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

3FRT -

(?)

ft)

ft)

TPTTfrT , 5(M<1 % Mpl eH’-l

dicJMfrl t ^TFT 1 1 ^FT.

aim M^MfrT #TT t

ttf 'iwvRsnfl 1 1 3 ^ft.

RiRhIt T >jrFT % *rfcT *rtrr

cfrr t rfrT RrRmfM I

^ft.

^°. TFT - VrmnW
■clldM

(S'*)

wi41 -

^ h<^m< sn>pjRr - ^N?s

TT*FF*R J^FvT *m 1 1 1

3FRT -

(?) Fkks mt *tft
ntt *rm fcH'+Pi< «ft tR til

(^) ^ftfft ^ ^ sftspftfrt

3t sR-rrw 1 1 1

T? • TFT-ERTreft

FTFft - mt <^HI«r 77T <TFfNFT mtl

3FRT -

(?)

ft)

ft)

SFFF 5FR» 3FFF 3FFF dlrlrllR rFTrFTTft

f£rftm Rftff irgr tpr ^nt mt

RrTT ^T (flrT^T drl+*l ^

sjjesff mte rim tjt: f*mrt

mt.

TJT T^TT gft tMtT ttt ift SFTFT mt
M<5^HI*T -«K«KI« 'Flf^rT M55T mt

TT. TFT - ^T^t
3FRdlVT

FmfV - afrfkT^ t rnr *rt?T

3FRT -

( ? ) dlcO dl<A -*-0 <5T cl I 'l 'Jh*! 3RTt

mft.

(^) <^ u m <=h^ fTFT mt RfiRd WH^rr ft^nt 1 1

m.

( 3 ) UM<) TT 3FT y*U«l TFT

^Tltll aMY.

(v) +ifa«fl % ffR ^rt jft^r afrcjft =rirrtl I

m.

ft) ^•hi*t snj tjt ht ’^rtt mntl I

mft.

T3- TFT-^fOft

3TTf^TFT

prpft - 1^ mrtt T^rrt

3FRT -

(?) STm 33T# HWT 3Tt tfl -

f^FT%g^T^II
ft) fK^(fUR*?lO Tf^rfrT % TFT
SFPRJrTT % TT^FfUl
(0 H<iHdi>r e+uO trtt ^k!
<FFpR % FT TTFfVll

R*. TFT-’cT^fr - (^sft)

FFT

FTFft- m^FT *JTcfT 5<|R v^tt R,Hlt
TFR3FIT W-TR-F«W-f 'mt

SicKl-

(?) m^T tRM (TTFT T^TTH
WnO ^nft?TFT *JvfiHRT mt 1 1

(^) ^ ^5f«r *rTg'dT arpRT-f

j|lRT»'r-whr-^r ^ % jmt 1 1

dMd o

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

(3)

HHTH rfhT FNt TPT RTH
<iHd sjftr «n% 'iiH htp ftimi 1 1

o

00

ftr" J rnr wth«ih afhr *rgr hr
f^nf^TR iTpHTR-fF 1 1

^RTrfo

(h)

FITOW! UrTTT!

! «terrr! rF'I

HRrTo

(^) JR - JT5R g^-H^T-gfr-

*rhnr affa^RPT hr g

HRrTo

['•HNl4 - gR7 JR^rftW ''TJTFfTJ T7 RR-HTH'
W\ TIM t RlSK'd tl m % HT^ <TT 41 3 ht
^TRT frR^ R<MHr t afF tJTrft <FT ^IPRlr 3FT BTT 1 1
3JM««IHI gjR% wff ^ RRT tRH t I *KHM

Jllft+T'F'ft %f?R H3HT ^ tl t ^tfe^PpR t

®fF f%gRHR *ft I FR^T HTH TWIT t t?!*pir HT^t, R
t Htrh *ftl hth Frnflr % 3 tthpt % sffa t iftt ^ftr
tl fRig fft anjtf % 4H % WtTT tl t SHTft

Htw! gH HRfT t 5FT HnTPT tt! <TFT %

3RRTT t tfap tt, afF *ft I g»?F 5PTR
^ Hrtt % *R (t<H 'tfl’ \S*)s4| ^ >iw<rtd 1 1 tw, TF*TT,
*jpm afhr <reff ilttROT FR TTtftrT ^ tl ]

TFT - tgTF

■MlriM

RT*ft - sR tjf^r R *Rt «R #

^Fw crt hh g^r ant - *r *fto

3TrRT-

(?) %«r ^ wh 3t^j nrr

gRHT # HH ^UrT, R ^T ^hT Hmt -

sR ^to

(^) 3Rt smO ntn htoT ^ +ft^l

RR HTHHPT gRT 'tt cOPl FN» ®Tt~

5R ^to

[hrt*Mr # rpt ngn ^ffRt «Rgfa hFtt
^rtt^ftl g^gR mfl- gft H7 Tt 3 H*ft 1 1 gw
iftfNT f^7TT angarf # 3 tRh trtcft t frt ^tft
jpTT # ^rn5T tl mt trjft »RT i t? RRtt, !W

^ ntn arrr rv? # +ft^ J ir l f%FjR # t>?IT h^h^ih

I^TT 5T*T 'TT 5Ttl]

RT*ft-

«nRai«

»lt 5lt f^TT ^Mt TRT 3R nTt HR I

(?) f^rtt # tfrr §mf ^r^P ^ i Tt F h i 5»

tr ^r ?tt ^nf rt »tt *rc

TT3JI I nt^°

(^) fr nt ar^r RnrS? atfrRr % <^ h rf;

nt

(^) ^t ^ ms<4i Rt nrr grw ?hn
cT5> h!^ ^ Rmi ^in^l

nt #0

(y) ^r ^tt ^rtf g^T

HT^[ % ft^r nt TtRT 5PJ nt

trRTlI nt Hto

(’TRTt-f^R! ^tarft RT ?T »Tt! 3R HR Tft^ 1# #

3TR% 3RH TFT RT ^F, fntf t ?R f^HT3K, $hT # 5TT
3ftr *r ht ^rn-^l 3 rt% hh qr artF tn
HHT^afFarnftaifJl^r^T^F^Hlil Fh 3TRT

HtTTT PFRT t antt # tHT ^1 ^ ’^ -

t^THT ^tt ^ t! t ^pg! g^Ft ?^Nt

3cft f ! gn Hrg-Hrff % ftnf t rht!]

^V9. TFT-^f
*UHM

RTtt- HtlMH RTt ^Tg^t f% gH ^d

•M»1 WT rflnl 41 'll rjr^rjrqrj | |

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR • 1997

3T7TCT

( ? ) ft rftftf ftftp ^ anfrft

(ft) ftftl I

ft, PTCR, RFT Plft ftr-fRP 1 1 FiflMMo
(^) ftk fft® Tfft PRT ftlfrRH ft, f%¥TRT

PTft *TTl

fttft r.HT fttffftPT PRP 1 1 pftftTTRo

( 3 ) m^jhih <Ahhw ptpt ftft Rft ftfa

v4l^ +W4*Mll M^MIHO

R6. TFT-*MTM
3Tlf^TFT

(^)

fftfftft rtp Rift fft^F pftY ft TTfftR sftft

ftft»ft §P q in mIO qitjO pftpt

sftp fNt PTP ft rft sftf 5T«rft*

*‘sroft’ ft "ft" fftftr arft ^rftf trttI I

RFft-

ftrTCT-

TV 7FT-%FT
^(Rmci

ft rft pfft R3> Rpft 3jg»n % <ft fttr i
(?) ^Hft PTcT 'JiftUi 'jwlrl JJT1F ft
P% «imn ftp PTT«PT ^RRi Rf

?P ft ft rft

(r) *t»6d ^<0 HP RlfcR fftrFT IJP ftfvfrT

PP $P ft-

PP HP PTPPfT PPPlfftp pft P Wfr

?P ft- ft rft o

(^) rftftt P5P Hft P^PP PtrTP P^Hfrl ft
PP PP jftfftp HP gift ft JJP PTPP

fftp PT ftl I ft rft o

(y) ftftt ftfaT ftttft fftpl" ftft PT*ft RJPP ft
t FjpmT 3HJ 3tp 3*1 K«l PTrft HPJpft-

ft cfto

* Rft fttfftft % !TO PP PPTP ftl PPftt <JRPT

ft qirttrqqq PP "ftPT $PP” | Plff RTHT ft ftt
PT PPrft ftl

fto. TFT - #^£t
^iRdM

FTTftt- <IHP-j! 3Pj! j|P fftp Rift fttp PPT ft fttf 1 1
PPRT

TFTo

(?) PIP Tftt fftpftV PPft *ft HPT PPP ftt
ftfttl I TPTo

(^) PTft P<«l4»Pd ftt PP ft faRP I ftp f

ftfNI PTPo

( 3 ) aftpp f Jsf 3ftp pftftn sft PTftTT
ftfN I TTR’o

(y) F^FPTP 5PJ PiPft PP 9TPft fPT Rft

^ftft^tll TPTo

TWo

* fttrTrR ftfft^ "^T" ^TRT W ft I

* fftf^TT FR J ftft - f^TrfPR 7lftT fttrPft

®njPTT q*i wft I

ft?. TFT - F*mft

f^<n«0dici

PTFft- ^PT ^?T JR gp ^Tftt I

3RTT-

(?) ft*T

^Flft ^R^TT-fftpR 3FR-JRJ»r-ftTftt-.

(R) SRfft fftpftt 5^t ftt RTT 'R ft HPR
R ft ?R >PT ^Rnftt-fft'iftRT o

(^) PR 3PT ^T f^fJcT R?T ft rfft HMIHTH

ftFtPT PPP pft fftp Tlftt-

fftftpTo

(y) 'T^JRPT 3 RPPR f^PPT ftg pftfr »R ft

r pfftnftt- fftftpr o

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

[rtrOO rr, % R?fR rr# %f?0 rtO rO

3HR jr tRRftR ftrORT % rO O t +*«uftfa

^tf-ifT'JT RRTR O RJR RTC -Sl^'l I RRO H'l^l RRjft t
v^HT RR frk M M I RTrO t I 'JR 4 i 4 ll % fT3 RT Mid
RTZ RT RRTO Rt gR 1 1 t RRR RT RTR, ’JR

t fOjR RR RT HHIRId Or rOtR # RT^O Rt RTTR
ftO gj tl f%JRR RRRR TTR f I RR! JR +RrHRR
RgRRTR Or Rmmm ?TRRT tldl RR RRR M>0 I t Rk)
TRT^R O RRT tl)

^ ^ . T U Mil 'fl

auRdltf

TRtO-

RrRT

TRlO-

3TTTTT-

URT^o

rrt *sfr PlRnm rj %
jtt Rcirtt Rtrhrt t 1 1

(?) RTR f%#R Rt «^M!dr

% RR RTRrT JgO 1 1 RRTo
(^) rRRR rRR RR JR JR RlO

tR jft RR RRR f%TlO I ! 5PTTo

(^) JJ'i'O rfO mO JR RlO

*RtT-RRR RT^ 0t O TTpt 1 1 !fiR< o

(y) rO HRrdRR jRrRfrT TTt

RJRRTR RR RRTT PUl^ 1 1 RRTTo

*Rtft rrr O rrt Rt 3<sJ<K RkRcT

Ot tl

tV TFT-<TT^

rnO jtO-jr t rtrO r^
tO rrrtOI I

(?) 5PTRR RRRR JJJRR RRR

RMd JRR RT fOOnO- TTTrOo
(^) RrRkT tRRT, Odft R>dd+ RTRR RR

fOr

jftRkRRO RRRR t RR % JRR RTRR I
RJRRTR Ot t RRl^lO- HTrO°

3*. TFT - SRTK ft

WtaiO

TRIO- Or RR RRR 3TR RTRR Oft RR

RTRT % RT JTR R1RRR RR %l I
RRTT (?) RRT RR RTT TR JRR % RRJRR

Rt RTR JRRRR, RR OO RR %-

ftRo

( r ) WRTRR, JRTRfR, RT% RTR f^R gTR
RTR 0^0 ^RRRRcT RJRRTR RJ %-

ORo

[RTRPf- O^TRR ftT RT RRT, RRRt RR RTR Or RRTR
t Rkrft RR RRR RR# tl fRR % Ot RT Rt t RRR
RR J:^-HTR ?Tt tl RRT tt R*f t JRRt % t, RR%
3RRf t Wit Rt JRR % RRTR f^Rt 1 1 RHiJfUlO
R RRTJ RtRRft RTR t RRT f%TR TRt f I RRRR f^RTR
OR^RRTR t ^RR-RRTH t tlj

TFT - %RTT

3TTf^TTFT

WTO- jO TrfO to RR" O RTR Oil

3RRT- (?) 'RR fkrO t Or-R^TT t

Or rrr rt fff% rtO II
( r ) Ott RtO Ort rtrt

RRt JRTR O ?TT RRIrO 1 1

jRf.

(O tt RR f%R fRRcT Off

I

rRTT TO tO ftR ftR mOl I JRfo

(Y) RNrT RTft Of Oft

Or Or fOrr |r jrtOI I

(H) fOtr fOr rt rt Ort t rjr

^TrR 3RRRTT 3TR vl Mlrfl 1 1

(rirO- Rf%! tt RR % Rt O RrRTO jO I TRRRR t
tR RRR RT RRRft tT RRt O t RRR RSROl RR %ftR

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 19.97

t #tt, jrst, ssi Str jjsr

sRTrffl Spft % f»RT JR?ft % TRR f?R % f
®Trft rl&Mr f l tl HtFft JJS stf 3TT?ft aft

sfrs t 'fas' ‘fas' fsifftl Mtr sIst, ^

3^T •#KM'*tl 3Rt *1«H *R rl'llrfl Hl(^> tj<S < t> rP

3^. TFT - 3T5m

SiiRaici

wpff-

yjRR ^ S^STS fit %

sir fMt f$R M-sft %

^jrr

SrRT-

(?) ^9F 5fT»r 3 nfrlrl famt RTt

jftsr mt ^jttht mt tRT sit
aMif^w Rit ^h< u i o

(^) *ftS W*3
ScftjR Sit

snj srjrr

y*u«io

(^) f$R fM+lR+ 3MdSI

f^TT R*1 S *T S STt
m<v tt?t st RtRck mtt
rit jrhWh s^ jcnt 1 1 ijjrro

(V) SR t TRf*RT S^R

win Jjnt

RRSiT 3TUS SVIg<«l
L I<^*HI*T THJ STS S*nt 1 1 <i*K«|o

[SRPS - - t JR! 3S ^<HHR Sft PRS f*R t st J&
Tfqpr t sr Mt t 1 ssfit tpr sr # ftst tt 'nf^rf r
f%5TTl 'f^T, ^pPTT, trcr fllRT Str 3RlfiR ST 3^TT
5RT jpTTl f?R, tM't', sfSJT, Sift vJ^*+>l 'RT Rs 7R JR t
STCS tl 3S JRSteS H<SR tslFTSStfR jfatfs St
ant SR JR 33T WST I SSfR *ig$R 3S7R ST W ST
HV JR! SRt SR S^JRR SRjfcSTCS f afk % STRR % *ft
SRSSIHT tl]

RPft-

^V9. <I«I*H?1

rIciuji

(H^)

«1s41r*>M STST JfS ts<ftV =*RT
S# STR HdR^HIfl SS $\

3fTRT- (?) MpKMJfll (l?) JR T % SJPSSt

RSR Hit HTRT ^PT 1 1 1

{^) SJR fwRT # 3T3T ^

t T^*RPT rPT ^Tl I
file o

[*TRt 4> RPT g^T ^T jft t ! gg- RfrPR
^ tl t |RFR t JR RTf^TcT T R-
4 lfA ^ utlT +<A 1 1 % 'FRTT ^TjAln Sl^T 1 1 7 ! % «FT*lts
tl JR # ^>T JITS 5nt HTl% SS R^T SSTt *R

# STJRT Ttl t OT! gP Jpltt 3PffT JTRS S7T jfWt
% It^lA TT ^pftl S*llt JR R 3TRT f^TRTJR al-sl !
g»sm t ft^lt JRrTT

tl]

Ms:- w WITH t PMt, 4W, Mr, jpstt, JT^rtT,

^FSTST, HTtS, ftsfa, 3RR, zfa RTS TTSf %

SR 3Tlt tl)

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

*■“•*-. JM -Oif. ^

fylfi/Ji fAe ccan/vlim&nls jluwri

i

STUDIO & COLORLAB
Station Road, Trivandrum-1
Telephone: 331771

With best compliments from:

M. DOMINIC

T.C. 32/957
SEENA HOUSE, VETTUCAUD
TH I RU VAN ANTH APU RAM

PIN 695 007

croaj)^crocru)iaoQQ)jo aJlaojcruanaj)QQQ)osjo <e»<pl6nno) mjajOTflcejoo (U(3c&i©mgocQ)l

and)a)OC06)(Z)!Pj(ijnj) roocoajixn (.rtJOJ(3ajnj)1<e6)janD 0Dl6rogj6)S afl(.((Do

cavooaS arcoocixS (31$ 0)0(0 s)mvj(OT0)

(fljIggflnJOEJo. <fij(t>G)(D oil. a., (0)l(DJCLICDnra)oJJ(0o 695 002

^ogglfffllejgo, QGJCQ)Dg(DiD)1eJ3o (0ra,aj3«6DT3tfd (ax^DOD&oacmg

Q): Off : 343370 Res : 330220

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

^rt ®xrunal Ha^raitiljT

ffiunte Sc (iMuatc ^fcatifral

23-04-97 to 02-05-97

^Pragrmmtte

I SWA I I flHUNAL SANUIIA SAHHA SOUVENIR - 1997

tfm.

23-04-97, Wednesday

6.15 p.m.

INAUGURAL FUNCTION

Prayer

Welcome

Kum. SAJITHA SUKU

Sri K.N. SREEKUMAR

Inauguration & Release of
the Souvenir

H.H. MAHARANI

KARTIKATIRUNAL LAKSHMI BAY I

Presidential Address

Sri L.C.R. VARMA

Felicitation

Dr. M. SAMBASIVAN
Dr. V.S.SHARMA

Vote to Thanks

Sri Neyyatinkara PURUSHOTHAMAN

6.45 P.M.

MUSIC CONCERT

Bombay Sisters

(Smt. C. Saroja & C. Lalitna)

Sri. H.N. Bhaskar

Sri Tanjore S. Subramaniam

Sri N. Govindarajan

Vocal

Violin

Mridangam

Ghatom

2nd DAY

24-04-97, Thursday

5.00 p.m.

Sri C.B. Ramanarayanan
Dr. M.N. Moorthy
Sri D. Rajagopal

MUSIC CONCERT

Vocal

Violin

Mridangam

(Sponsored by Muktambaram Trust [Regd. ], Chennai)

6.45 p.m.

BHARATHANATYAM

Smt. Malavika Sarukkai

SRI SWATI TIRUNAL SANQITA SABHA SOUVENIR - 1997

3rd DAY

25-04-97, Friday

5.00 p.m.

6.45 p.m.

Sri Alepey Venkatesan

Sri M.A. Sundaresan

Sri Madrimangalam Swaminathan

4th DAY

BHARATHANATYAM

Kum. Sarada Thampi

MUSIC CONCERT

Vocal

Violin

Mridangam

26.04.97, Saturday

3.00 p.m.

DEVOTEES MUSIC

5.00 p.m.

VEENA RECITAL

Smt Santha Moorthy Veena

Sri Thiruvananthapuram V. Raveendran Mridangam
Sri H. Venkitachalam Ghatom

6.45 p.m.

Sri Maharajapuram Ramachandran
Sri C. Rajendran

Sri Thiruvananthapuram V.Surendran
Sri RL. Sudheer

5th DAY

MUSIC CONCERT

Vocal

Violin

Mridangam

Ghatom

27-04-97,Sunday

. T r V Ll 17 1

3.00 p.m.

5.00 p.m.

Sri Changanassery Madhavan Namboothiri
Sri Mavelikkara P.N. Satheesh Chandran
Sri Mavelikkara R Balachandran

6.30 p.m.

7.00 p.m.

Sri Ganesh & Sri Kumaresh
Sri B. Harikumar
Sri Uduppi Sridhar

DEVOTEES MUSIC

MUSIC CONCERT

Vocal

Violin

Mridangam

(Sponsored by Muktambaram Trust (Regd), Chennai)

SRI SWATHI TIRUNAL MEMORIAL LECTURE
Prof. A.V. Sankaran

VIOLIN DUET

Violin

Mridangam

Ghatom

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

6th DAY

28-04-97, Monday

5.00 p.m,

6.45 p.m.

Dr. G. Anil Kumar

MUSIC CONCERT

Vocal

Prof. K.K Dharmarajan

Violin

Sri Talanad Manu

Mridangam

Sri Anchal Krishna Iyer

Ghatom

-

MUSIC CONCERT

Prof. T.R. Subramaniam

Vocal

Prof. M. Subramania Sarma

Violin

Prof. Parassala Ravi

Mridangam

Sri Elenjimel Susil Kumar

Ghatom

29-04-97, Tuesday

5.00 p.m.

HINDUSTHANI COMPOSITIONS OF
MAHARAJA SRI SWATI TIRUNAL

Dr. P. Janardhanan
Sri Narayana Rao
Prof. Manohar Keskar

Vocal

Harmonium

Tabala

6.45 p.m.

Sri A. Ananthapadmanabhan
Sri T.V. Gopalakrishnan

VEENA RECITAL

Veena

Mridangam

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

8th DAY

30-04-97, Wednesday

5.00 p.m.

MUSIC CONCERT

Sri Suresh K. Nair

Sri N.V. Babu Narayanan

Sri L. Parameswara Sarma

Vocal

Violin

Mridangam

(Sponsored by Muktambaram Trust [Regd.], Chennai)

6.45 p.m.

MUSIC CONCERT

Sri T.V. Gopalakrishnan
Sri S. Varadarajan
Sri M.R. Sainatha

Vocal

Violin

Mridangam

9th DAY

01 -05-97, Thursday

3.00 p.m.

DEVOTEES MUSIC

5.00 p.m.

Sri Vechoor Sankar

Sri Avaneeswaram S.R. Vinu
Dr. G. Babu

MUSIC CONCERT

Vocal

Violin

Mridangam

(sponsored by Muktambaram Trust (Regd.), Chennai)

6.45 p.m.

Sri Trichur V. Ramachandran
Dr. M. Chandrasekharan
Prof. Mavelikkara K. Velukutty Nair
Sri Elanjimel Susil kumar

MUSIC CONCERT

Vocal

Violin

Mridangam

Ghatom

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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6.15 p.m.

VALEDICTORY FUNCTION

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Prayer

Kum. RETNA PRABHA x

Welcome

: Dr. M. VELAYUDHAN

Inaugural Function

: Sri A.K. ANTONY

Presidential Address:

Dr. J. GOUR1KUTTY AMMA

Reading the Citation

: Sri V.M. MOHAN

Conferring the title GAYAKARATNAM"
on Sri S. RETNAKARAN BHAGAVATHAR
and Prize distribution

: Sri. A.K.ANTONY

—

Felicitation Speech

Sri NS. ISSAC
(Station Director, AIR, Tvm)

Reply

: Sri S. RETNAKARAN BHAGAVATHAR

Vote of Thanks

Sri K.N. SREEKUMAR

7.15 p.m.

MUSIC CONCERT

Sri S. Retnakaran Bhagavathar

Sri T.K.V. Ramanucharyulu

Sri T.A.S. Moni

Sri R.A. Rajagopal

Vocal

Violin

Mridangam

Ghatom

V _

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SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

WORKSHOP ON "MUSIC CULTURE"

Director: Dr. V.S. Sharma

LECTURE DEMONSTRATIONS

26- 04-97

Saturday 10.15 a.m.

"Poochi" Srinivasa Iyengar - Composer & Musician
by

Sri Alepey Venkatesan

27- 04-97

Sunday 10.15 a.m.

"Rendering of Manodharma S waras"

by

Prof. T.R. Subramanian

01 -05-97

Thursday 10.15 a.m.

“Impact of Manodharma in Carnatic Music”

by

Sri. T,V. Gopalakrishnan

K.N. SREEKUMAR
Hon. Secretary

SARMA MEDICALS

PAZHAVANGADI, FORT
TRIVANDRUM - 695 023

Phone : 471638

Dealers of all Ayurvedic, UNANI AND HERBAL MEDICINES FREE CONSULTATION
BY OUR DOCTORS DURING MORNING AND EVENING ON ALL DAYS

contact:

KSIDC

THE SINGLE-POINT-CONTACT

for

those pl annin g Medium / Large Scale

Industrial Projects

Kerala State Industrial Development Corporation Ltd

Kowdiar, Thiruvananthapuram-695003
Phone: 438922, Gram: INDUSCORP, Telex: 0435-6203
Fax: 471-435893, E Mail: Ksidc @ giasmd 01. Vsnl.net. in

SRI SWATI TIRUNAL SANGITA SABHA SOUVENIR - 1997

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HI-TECH COMPUTERS

S.S. KOIL ROAD, THAMPANOOR
TRIVANDRUM -<5<?5 OOl. KERALA

PHONE: 330633

DTP in *

SRI SWATI TIRUNAl SANGITA SABHA SOUVENIR - 1997

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it can not take even 50
KVA load if it is connected
on one phase only. This ,
embases the balancing of
loads equally between the
phases. Therefore never
add or remove load with-
out prior permission of
K.S.E.B. for effective utili-
zation of our transform-
ers and machines.

emember, unbalancing
leads to burning out of
bulbs and house hold ap-
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Ratheesh Printers, Thiruvananthapuram. Phone : 331094