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Review



Bhava Raga Tala Modini

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For ardent admirers of composer Muthuswami Dikshitar "Bhava Raga Tala Modini" a large booklet of articles compiled by Dr. V.V. Srivatsa and circulated at the annual series of Guruguhanjali in 1998 is nothing short of a Bible.The compiler has chosen a blend of articles that bring forth both the composer and the compositions. The introductory article "Dikshitar the Genius" by Sulochana Pattabhiraman gives a lot of information about the lineage and tutelage of Dikshitar, the influence of veena in his compositions and the splendor of the compositions themselves. Parallely, S.A.K Durga's article "Scholarly kritis of Dikshitar" is almost a eulogy on Dikshitar. It traces the various forms essayed by Dikshitar, the myriad thalas, ancient ragas, Hindustani ragas, etc.Two research oriented articles in this booklet are: A comparative study of the raga forms portrayed in the kritis of Dikshitar and Thyagaraja - by Sri S.R. Janakiraman (republished courtesy the Music Academy) and "Shakta references in Karnatik Music" by Dr.V.V. Srivatsa.In the former article, the author distinguishes specific kritis of the same raga by the two composers. He traces differences right from the tempo of the respective compositions and puts I down to the variation in the basic temperament of the 2 composers. Thyagaraja was intensely emotional, a lyric composer who composed in bursts of spontaneous outpouring whereas Dikshitar was more sedate.This interesting article really gives the reader insight into a great many compositions. The second article in purview i.e. 'Shakta references in Karnatak Music' is like an 'Akshaya Patra' of knowledge. With a theological base of Sri Vidya, Sri Chakra, the author highlights how the navavarna kritis of Dikshitar are a form of worship of Sri Chakra. He brings out Shaktha references in Nilothpalamba Vibhakthi compositions, the Guruguha Vibhakthi, Abhayamba Vibhakthi compositions, in addition to shaktha references in several individual compositions. He also compares the terms used in praise by Dikshitar and Shyama Shastri respectively. In addition, the post trinity's handling of the same theme is also described. This massive article, as mentioned before is like a vast ocean churning forth waves of knowledge.Dikshitar's kritis have often been subject to controversy. Is such and such a piece really a composition of Dikshitar? Or is it not? Often has this question been asked. In order to clarify matters a bit, the author, Dr. Srivatsa himself has examined many of these 'dubious' compositions. Through reasoning and dedications he has inferred that quite a few kritis are of doubtful authenticity. By the same token he has concluded that several compositions of Muthuswamy Dikshitar are missing. This article ends with an appeal to rasikas to realise any information about these unknown compositions.To give spice to this otherwise academically surcharged book, an unusual article has been incorporated.Apocryphal Assumptions on Chidambaranatha Yogi by Lakshi Kumar is a hard hitting article against mischief who draw conclusions that the uncle of the Tanjore Quartette was the spiritual guru of Muthuswami Dikshitar - confusing him with yogi Chidambaranatha - his namesake and Dikshitar's actual guru.The tailpiece of this booklet contains an exhaustive index on Kshetradana kritis of Muthuswami Dikshitar which should be of immense utility to the student of music.In short, this little chef d'oeuvre which capsules maximum information in minimum space is a veritable proof of the knowledge of the compiler, his hard work and enormous dedication for Muthuswamy Dikshitar.

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