Muthuswami Dikshitar

Dikshitar is credited with around 500 compositions, renowned for their elaborate poetic descriptions of Hindu deities and detailed architectural depictions of temples. His music is notable for capturing the essence of ragas in the vainika (veena) style, which highlights the use of gamakas. His works are usually composed in a slower tempo (chowka kala), often incorporating middle tempo stanzas (madhyama kala sahitya). Dikshitar used the signature name Guruguha (as a mudra) in all his compositions, which continue to be widely performed in Carnatic music concerts.

The musical trinity consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827). Unlike the predominantly Telugu compositions of Tyagaraja and Syama Sastri, Dikshitar's works are mostly in Sanskrit. He also composed a few kritis in Manipravalam, a literary style combining Sanskrit and Tamil.

There are two schools of thought regarding the pronunciation of his name. in Kalyani (raga), the mudra appears as "Guruguha Roopa Muddu Kumara Jananeem".

Early life

Muthuswami Dikshitar was born in an Auttara Vadama Tamil Brahmin family on 24 March 1776, in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu, India. He was educated by his father, Ramaswami Dikshitar, in several subjects including the Vedas, poetry, music, and astronomy. Muthuswami had two brothers, Chinnaswami () and Balaswami (), and a sister, . Muthuswami's father, Ramaswami Dikshitar, born circa 1735, was from an Auttara Vadama family in Virinchipuram and relocated south due to the politically turbulent environment surrounding the Kanchipuram and Virinchipuram region. Ramaswamy Dikshitar trained in the veena under Venkata Vaidyanatha Dikshitar, of the lineage of Govinda Dikshitar and Venkatamakhin, an influence reflected in Muthuswami's works, which follow the Venkatamakhin raga system.

Muthuswami later moved to Manali, near Madras (now Chennai), with the support of Venkatakrishna Mudaliar, a local zamindar. The Dikshitar brothers accompanied the zamindar to Fort St. George, where they were introduced to Western orchestral music and the violin. An ascetic named Chidambaranatha Yogi then took Muthuswami under his wing, and they went to the city of Benares (now Varanasi, in Uttar Pradesh). There, he was instructed in music, esotericism, philosophy, and yoga. He was also exposed to Hindustani classical music, particularly the Dhrupad style, which some scholars believe influenced his later compositions.

Career

According to hagiographical tradition, Murugan, the deity of the temple at Tiruttani, is said to have placed a piece of sugar candy in Dikshitar's mouth and commanded him to sing. This marked the beginning of his music career and also led him to adopt the mudra, "Guruguha," one of the many names of Murugan. His first composition was "'" in the raga Maya Malavagaula and Adi tala.

The song addressed the Lord (and/or the guru) in the first declension (Vibhakthi) in Sanskrit. Dikshitar later composed Kritis in all eight declensions on the Lord. These are with epithets glorifying Muruga in the ascetic form and have few references to the deity in the saguna form, as at Thiruthani.

He then went on a pilgrimage visiting and composing at the temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi, Kalahasthi and Srirangam, before returning to Tiruvarur.

Death and legacy

thumb|Subbarama Dikshitar (1839–1906)

On 21 October 1835, Muthuswami Dikshitar died in Ettayapuram. He had no children. A samadhi was erected at Ettayapuram in his memory, which attracts musicians and admirers of his art.

Muthuswami Dikshitar's brothers Chinnaswami (1778–) and Balaswami Dikshitar (1786–1858) were also noted musicians. Chinnaswami composed some Kritis while Balaswami adapted and pioneered the use of the Western violin in Carnatic music. The two of them were primarily vocalists and performed together as a duo singing Muthuswami's compositions. Balaswami's grandson was the composer and scholar, Subbarama Dikshitar (1839–1906). In his Sangeeta Sampradaya Pradarshini (), Subbarama records 229 of Muthuswami Dikshitar's Kritis.

Dikshitar's disciples included several artists who carried forward his tradition. They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena player Venkatarama Ayyar of Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of Shyama Sastri, Subbaraya Sastri.

Dikshitar is considered one of the Trinity of Carnatic music alongside his two contemporaries from Tiruvarur, Tyagaraja and Shyama Sastri. The Carnatic musician M Balamuralikrishna composed a song in his honor in the Raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'. Within the Raga Devamanohari, fellow Carnatic musician Koteeswara Iyer also composed a song to honor Dikshitar, named 'Sāmi Dīkṣita'.

Compositions

Dikshitar's compositions incorporated philosophical concepts into his music and often employed a structured style in comparison with the works of later Carnatic music composers such as Tyagaraja. His works, including the Abhayāmbā Vibhakti-kṛtis, demonstrate a careful integration of spiritual themes with musical techniques. Dikshitar tried different ragas and talas, including the Rāga-malika format. His works are more concise than the extended compositions of his father, Ramaswamy Dikshitar.

Muthuswami Dikshitar is credited with composing roughly 450 to 500 works, many of which remain part of the active Carnatic concert repertoire. Most of these compositions are in Sanskrit and follow the Krithi format, in which poetry is set to music.

Throughout his early life, Dikshitar travelled to numerous sacred temples across India, composing Krithis in honour of the deities enshrined at these sites. Many of his works praise the presiding deities of temples and incorporate references to specific characteristics and traditions of each sthalam.

Dikshitar composed extensively throughout his time in Kanchipuram, a city traditionally described as containing more than 108 temples that represent both Shaivite and Vaishnavite traditions. He is said to have worked under the guidance of the saint Brahma Upanishad. His compositions encompass a uniquely wide range of deities, broader than that found in the works of most composers in the Carnatic tradition. They are noted for their depth, melodic sophistication, and structural precision. His interpretations of several rāgas are regarded as authoritative references for their melodic form. While the lyrics are primarily devotional, addressed to specific temple deities, they also integrate concepts from Advaita Vedanta, blending devotional expression with non-dualistic philosophical ideas.

Technical contributions

Dikshitar composed Krithis in all 72 Melakartha ragas, under his unique Asampurna Mela scheme, thereby preserving and showcasing several rare and nearly forgotten ragas. He is also credited with pioneering the Samashti Charanam format—compositions that include only one stanza after the Pallavi, unlike the conventional two.

Dikshitar was a master of Tala and is the only recorded composer to have Krithis in all seven basic Talas of the Carnatic scheme. His compositions are known for proficient rhyming and intricate use of Sanskrit grammar, including the use of all eight grammatical declensions.

Grouped compositions and notable works

Muthuswami Dikshitar composed many Kritis in groups. Vatapi Ganapatim is regarded as his best-known work.thumb|Shri Nilotpala Nayike, in the raga Reethigowlai. A composition by Muthuswamy Dikshitar. The rendition was part of the Smt Kalpakam Swaminathan memorial concert at Naada Inbam, Chennai.

Muthuswami Dikshitar composed one song (Shri Kantimatim Shankara Yuvatim Shri Guruguhajananim Vandeham. Samashti Charanam Hrîmkâra Bîjâkâra vadanâm Hiranya manimaya Shôbhâ Sadanâm) on the Nellaiappar Temple for goddess Kanthimathi Amman. This song is set in a rare raga. He is also said to have composed a Rama Ashtapathi along with Upanishad Brahmendral at Kanchipuram, which has been lost.

Influence of Western music

At a young age, Dikshitar was exposed to the music of Western bands at Fort St. George. Later, Dikshitar composed some forty songs to several (mostly western folk) tunes loosely adapted to ragas such as Shankarabharanam. This corpus is now known as nottusvara sahitya (etym. nottusvara = "notes" swara). The influence of Celtic and Baroque styles in these compositions is evident (e.g., Sakthi Sahitha Ganapatim, to the tune of voulez-vous dancer, Varashiva Balam). A common misconception is that these compositions were commissioned by CP Brown, the Collector of Cuddappah. However, this is improbable, as historical records indicate that Dikshitar had left Madras by the year 1799, while Brown did not arrive in Madras until by August 3, 1817, where he studied at the Fort St. George College, and was being taught of Marathi and Telugu.

Notes

References

Sources

External links

Compositions of Dikshitar, with meanings.
Sruti Magazine, Mar 2013
Compositions of Dikshitar with meanings.
Muthusamy Dikshithar – A Creative Genius by Chitravina N Ravikiran
Statistics on Dikshitar's Compositions
Sri Muthuswamy Dheekshidhar Adichuvatil Isaipayanam by Valayapettai R. Krishnan