Muthuswami Dikshitar: The music is over but the song is on

Chidambaranatha Yogi, who had earlier initiated Ramaswamy Dikshitar into

the Sri Vidya Cult and taught him the tantric mode of worship, was on a

pilgrimage to Benaras. On his way from the south, he made a brief halt at

Madras. Ramaswamy Dikshitar invited the guru for a bhiksha. The yogi accepted

the invitation and went to his house at Manali. Muthuswamy and his brothers sang

while the yogi performed the pooja.

The yogi, who visualised the eventful future ahead of Muthuswamy, asked

Ramaswamy Dikshitar: "I have a request to make, will you care to comply?"

"You are my revered guru. Command me, Sir," said Ramaswamy Dikshitar.

"So then, send your son Muthuswamy with me to Kasi."

Ramaswamy Dikshitar was stunned and sat speechless. At this very juncture,

Venkatakrishna Mudaliar appeared on the scene. He told Ramaswamy Dikshitar:

"King Dasaratha was nervous when Viswamitra desired to take young Rama with him

to the forest. Didn't Rama derive immense good by accompanying the sage?"

Ramaswamy Dikshitar agreed, though reluctantly, to send Muthuswamy with

Chidambaranatha Yogi.

Muthuswamy lived with the yogi for about six years in Kasi. This is the

period that must be reganded as the most signfficant in moulding the

personality of Muthuswamy Dikshitar. The yogi gave him the 'upadesa' of

Shodashakshari Mantra and trained him further in the tantric form of worship.

He taught him yoga and Vedanta as propounded by Shankaracharya. This is why we

find in Muthuswamy Dikshitar a synthesis of Veda, Purana, Alankara, Jyotisha,

Agama, Yoga, Mantra, and Tantra which is abundantly reflected in his compo-

sitions.

During his stay at Kasi, Muthuswamy Dikshitar had splendid opportunities of

listening to Hindustani music in all its purity. This had a profound influence

on his creative genius, which becomes apparent not only in his handling of

the Hindustani ragas but in the portrayal of ragas in general as well.

Muthuswamy Dikshitar has composed a number of kirtanas in Yamuna Kalyani

(Yaman of Hindustani music) and among them special mention is to be made or the

kirtana Jambupathe mam pahi, which stands unrivalled its regard to the richness

of ragabhava and grandeur of style. Parmala Ranganatham in Hamir Kalyani is

again a brilliant composition that brings out the salient features of the raga

as delineated in Hindustani music. Chetha Sri Balakrishnam in Dwijavanthi is a

magnificent edifice portraying the charming raga in all its varied hues.



YOGI'S AFFECTION

Muthuswamy Dikshitar was to leave for his home town Chidambaranatha Yogi was

offering worship to Devi Annapoorneswari, and Muthuswamy Dikshitar was beside

him. The yogi told Dikshitar that the Devi would not only grant his desires in

this life but moksha thereafter and that he should worship her all his life.

The next day, while going to the Ganga for bathing, the Yogi said to

Dikshitar: "Go down three steps in the Ganga and tell me what takes place".

Dikshitar stepped down the Ganga and to his greal amazement. a veena with the

sacred name of Rama inscribed on it drifted into his arms. "This is the prasada

of Ganga Devi. May you grow to become a great vainika and celebrated

vaggeyakara," blessed the guru....

The year was 1834. In the month of Aswija, on the Chaturdashi preceding

Deepavali, Muthuswamy Dikshitar woke up in the early hours, as was his

practice, and after yogic practices went to take his bath.

He had a vision of Kasi Annapoorneswari. Even as he was gazing on it, the

vision vanished. Dikshitar remembered what Chidambara yogi had told him at

Kasi: "She will give you not merely feed in this life but 'moksha'

thereafter".

Dikshitar felt his end was nearing. He performed Navavarna pooja to the Devi

and sang the kriti Ehi Annapoorne. After the pooja, Dikshitar moved on to the

drawing room where his disciples had assembled. "Today is Chaturdashi, a day

sacred to the Devi. May you all sing kirtanas in her praise," said Dikshitar to

disciples. They began singing Meenakshi me mudam dehi in raga Gamakakriya.

"It looks as though the Devi is liberating me from the bonds of this world.

Sing the kirtana again," said Dikshitar. They did so. Even as they were singing

the sahitya of the anupallavi Meena lochani Pasha mochani, he cast off his

mortal coils.



The music is over; but the song is on.

http://reocities.com/vienna/strasse/5926/dikshitarbio.htm

What is your point? That SI musicians became good after being trained in UP? May be he had also learnt Hindi and that was the reason why he became famous!

So, all NIs should go buy Dikshitar's CDs, listen to them and live happily ever after.

Vakavaka Pakapaka wrote:What is your point? That SI musicians became good after being trained in UP? May be he had also learnt Hindi and that was the reason why he became famous!

So, all NIs should go buy Dikshitar's CDs, listen to them and live happily ever after.

one should be grateful if contemporary northindians show an interest in hindustani music which evidently they claim is an art indigenous to northindia.

Vakavaka Pakapaka wrote:What is your point? That SI musicians became good after being trained in UP? May be he had also learnt Hindi and that was the reason why he became famous!

So, all NIs should go buy Dikshitar's CDs, listen to them and live happily ever after.

Why must you get angry? Let us have civil and cordial discussions. After all we have known each other for a long time now.

MaxEntropy_Man wrote:

Vakavaka Pakapaka wrote:What is your point? That SI musicians became good after being trained in UP? May be he had also learnt Hindi and that was the reason why he became famous!

So, all NIs should go buy Dikshitar's CDs, listen to them and live happily ever after.

one should be grateful if contemporary northindians show an interest in hindustani music which evidently they claim is an art indigenous to northindia.

They seem to show more interest for poetry sessions going by the huge popularity of Mushairas and Kavi Sammelans.

Rashmun wrote:

MaxEntropy_Man wrote:

Vakavaka Pakapaka wrote:What is your point? That SI musicians became good after being trained in UP? May be he had also learnt Hindi and that was the reason why he became famous!

So, all NIs should go buy Dikshitar's CDs, listen to them and live happily ever after.

one should be grateful if contemporary northindians show an interest in hindustani music which evidently they claim is an art indigenous to northindia.

They seem to show more interest for poetry sessions going by the huge popularity of Mushairas and Kavi Sammelans.

On the other hand it is incorrect to say there is no interest in classical music amongst NI's.