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KANAKADASA - COMPOSER...............(16th Century) One of the great Bhagavatha Maha Purushas Karnataka gave,Thimmappa , son of Birappa, a poligar chief of Kuruba community came to be called 'Kanaka Nayaka' as he found a treasure-trove of gold. He was initiated by Vyasaraya. He lived at Tirupathi in his last days. He has composed: Hari Bhakti Sara Nala Charitra Mohana Tarangini Nara Simhastava Devotional songs in Kannada like 'Krishna Nee Begane' (Yaman) His devotional songs and devoted work elevated the backward communities. His signatures were 'Kagineli Kesava', 'Velapuri Kesava', etc. 
TANJORE S. KALYANARAMAN - VOCALIST...............(b.June 2, 1930) A senior vocalist, S. Kalyanaraman belons to Komal and was born at his mother's village of Thiruvengadu, a village noted for musically talented men. His father N.Srinivasa Ayyar was a grandson of Komal Muthu Bhagavathar.
KAZHUGUMALAI A.KANDASWAMY - VOCALIST...............(b.April 1, 1932) Kandaswamy hails from the sacred place Kazhugumalai. He is the son of Arumugham Pillai and Ponnammal. His paternal uncles were nagaswara and tavil artistes. He had his musical training under Sankaradas Swamigal, Dr.Sitarama Ayyar, Madurai Padma Sri Madurai Somasundaram (Somu). 'A' grade artiste with All India Radio, Kandaswamy has been giving concerts for over two decades. Titles: Ganaranjita, Gana Kalanidhi, Isai Semmal and Ganakala Bharati.
KAVI KUNJARA BHARATI - COMPOSER...............(1810-1896) Kavi Kunjara Bharati was born at Perungarai (Ramanathapuram). Father Subramanya Bharathi and grandfather Kotiswara Bharathi were scholars in Tamil & Sanskrit. The family legacy was enriched further by the grandson of Kavi Kunjara Bharathi, viz., Kotiswara Ayyar, the illustrious author of 72 melaraga kirtanas in Tamil. Kavi Kunjara began to write poetry in his teens and soon became a friend of Madhura Kavi Bharathi. Gowri Vallabha, the Rajah of Sivaganga was pleased to appoint him as Asthana Vidwan in his court. The Rajah of Ramnad folowed suit. 'Skanda Purana Kirtanas' (1865-1870) are his greatest contribution. 'Azhagar Kuravanji' and 'Perinba Kirthanaigal' are his other compositions which are popular. Some of his pieces are: Elloraiyum Polave - Suddhasaveri Ennadi Penne Unakku - Begada Pithanavan - Anandbairavi Singaravelanai - Danyasi Sannidhi Kandu - Mohanam The title 'Kavi Kunjaram' was conferred by the Rajah of Sivaganga. The first song was the favourite of S.G.Kittappa and T.R.Mahalingam who have given disc recordings of it. Dr.U.Ve. Swaminatha
Ayyar mentions that Athmanatha Bhagavather (nephew) and Kunjaram (grandson)
were also scholars and that they propogated Bharathi's songs. Perungarai
village presented another composer of repute Madura Kavi Bharati (c.1780)
who is known for his devotional padas..
Kumari Kanyakumari has been having a hectic practice providing accompaniment to prominent artistes on the All India Radio, Doordarshan, Sabhas, etc. Since 1987, she has been giving a large number of special programmes titled 'Vadhyalahari' - combination of violin, veena and nagaswaram. This innovative presentation has caught the attention of many & is popular. She had a special
coaching assignment for six weeks at the University of San Francisco.
Apart from prizes from Universities & Music Academy, she has received
the titles of:
Karthick is
in the thick of popular ghatam artistes. His amiable and affable cultured
presence ensures co-ordinated and understanding laya at concerts. His Manamadurai-made
ghatam (pot) withstands his dexterous play with scintillating strokes to
match not only the main artiste's swara prasthara, etc. but the
mridangist's challenges at concerts. Karthick is conversant with konnakol
and morsing too. He has been providing competent accompaniment to senior
vidwans at all forums ably. He has won many prizes; has presented papers
at seminars. With his rich knowledge of Sanskrit, he hopes to secure Ph.D.
on a topic related to music, viz., 'Percussion in Sanskrit Literature'.
Has given an audio cassette on ghatam-play.
They had their training under Nemam Subramania Ayyar, a direct disciple of Tyagaraja. Karur Chinna Devudu composed several songs like 'Neramanchakura' (Sankarabharanam). His violin duets with his elder brother, Pedda Devudu had a premature end when the elder died. Chinna Devudu then trained his younger, Chinnaswamiah and both were playing together. It was Karur Chinnaswamiah who was later honoured by the Music Academy wth the conferemnt of the title 'Snagita Kalanidhi' in 1950. He had accompanied most of the great artistes. His musical expertise was sound and used the full bow Musiri Subramanya Ayyar, K.S.Papa Venkatramiah, G.N.Balasubramaniam and Varahoor Muthuswami Ayyar were his disciples. His capacity to present rich ragabhava, wide range of ragas, unequalled skill in producing rare and unique tones on his instrument and his remarkable attractive style have been complimented by Keerthanacharya C.R.Srinivasa Ayyangar. Chinna Devudu
composed note-swaras also like Muthuswami Dikshitar. 'Sami Ninne' 9Sree
raga - adi tala) varna is his. Their compositions are all in the
tradition of Tyagaraja. Prof.P. Sambamurthi Ayyar says that Dakshinamurthi
Sastri wrote the Sahityas (script) which were set to music by Devudayya
and that the two are called Garbhapuri composers after their signature
'Garbhapuri'. A collection of the compositions has been published
by the Music Academy, Madras..
Kesavayya, born at Bobbili, had his training in music under his father Gopalayya. His mother was Ranganayaki. He was well-versed in Sanskrit and Telugu and had learnt 'pranayamam' from Narasimha Yogi. He was superb in the 'Ghana' style of singing and was of a dominant nature. Proud of his artistic attainments, he assumed the provoking title of 'Bhooloka Chapa Chutti' (one who could roll the world into a mat). Due to his disinclination to take presents from all, he came to be presented with a large number of tamburs. In the course of his visits, he reached the then cultural centre of Tanjore. It was his wish to establish his pre-eminence and undisputed sway over all the musicians wherever he wne. Over-awed by the grandeur of his retinue and the display of tamburs and other paraphernalia coupled with the advance knowledge of real prowess, artistes would bow down meekly and avoid confrontation and probable shame. At Tanjore, he had held out this challenge for a contest. That there was a contest was true. Dr.U.Ve.Swaminatha Ayyar mentions that Pallavi Gopalayyar feigned to contest but yielded to the visiting artiste. He has also mentioned that Tsallagallo Pallavi Doraiswami Ayyar (1782-1816) of Tiruvaiyaru recorded success over Kesavayya and retrieved even the presents got against Pallavi Gopalayyar. The piece chosen for Pallavi in the contest was 'Chellunataraymodi' (Pantuvarali raga Triputa tala). There is another version of Syama Sastri taking the contest. Probably this had taken place prior to the meet with Doraiswami Ayyar. The common version in currency is that Rajah Serfoji turned to Syama Sastri of the Carnatic Trinity to uphold the honour and the orestige of the Tanjore artistes and the Court. Syama Sastri invoked the blessings of his patron deity with the famous piece 'Devi Brova Samyamidhe' (Chintamani). With his brilliant exposition in Sarabhanandana tala, Sastri established his supremacy over Bobbili Kesavayya. The ruler sent Kesavayya with some presents. An eminent vidwan, Kesavayya both gained and lost by his audacious affront to other artistes. It looks that Tanjore proved to be his waterloo. At the request
of Rajah Serfoji, Kesavayya gave lessons to Ghanam Krishnayyar, who rose
to dizzy heights besides being a composer of renown. Kesavayya's
descendents like Vijaya Varadayya, Raghavayya and Varadayya were veena
artistes in the ghana style.
The voice of
gold whirled with ease and felicity in the upper octave even as the 'Homa'
bird circles with its proverbial nature and deliberate option. Ramakrishna
Paramahamsa has mentioned that this fabled species
Ramakrishna cites Sukhdeva, Narada, Jesus, Sankaracharya, etc. How true it is that S.G.Kittappa, the dramatist and musician whom we are dealing with here, literally spent his short sojourn on this planet at the lofty heights of the upper octave and left for his celestial abode. He was not
a mere legend. Fortunately recorded music has caught shades of the
brilliance of the musician and his musical miracle for the benefit of posterity.
Can anyone dream of matching
Harikesanallur Muthiah Bhagavathar gave a recording of 'Evarani'. Later he heard the recorded version of the song rendered by S.G.Kittappa. Promptly he told the recording company not to release his own and refunded the honorarium. Good Sahitya (lyric) is pleasant. When it is conveyed and clothed with melody, it is rapturous. Richer the melody, sahitya is apt to be noticed less and lesser till ecstacy rules. Kittappa could take his listeners to the dizzier realms of ecstatic music. He had the able assistance of his brother S.G.Kasi Ayyar, harmonist and K.B.Sundarambal, another of those Hma birds with the sweetest of honeyed melody. It is stated
that he would adopt the song of Vishnu Digambar 'Raghupathi Raghava Rajaram'
for the concluding chorus as a mark of respect to its author. Gandhiji's
heart was in that song. Kittappa would recount any that he heard
once. Eka santha grahi. He heard the Khamas raga piece 'Sapathi
kilasa' of Piyare Saheb and it that day at his drama. This visiting
musician was thrilled and presented a gold pendant. It is stated
that Kittappa once treated Naina Pillai, Azhaganambi Pillai and Dakshinamurti
Pillai with 'Evarani' etc with raga alapana on the stage at their request
and for their pleasure. As Maha Vaidyanatha Ayyar was there for concerts
and T.N.Rajarathinam for nagaswaram, S.G.Kittappa was for stage music,
which was one hundred percent Carnatic music full of virtue, purity and
class (swaroopa) .
Kotiswara studied at Manamadurai, Tiruchirapalli and Madras. Initially, he was in the Criminal Intelligence Department and later transalator in the High Court, Madras. On the musical side, he studied under the stalwarts, Poochi (Ramnad) Srinivasa Ayyangar and Patnam Subramania Ayyar. There was thus a parallel line of activity throughout - as NMN writes - 'one for livelihood and the other for life's ruling passion'. Kotiswara Ayyar
has composed about two hundred pieces. His seventy-two melakarta
kirtanas are a great contribution carving out for him a place among great
composers. Has composed varnams in Tamil in the ragas Saveri, Danyasi,
Bilahari, etc. His signature is 'Kavi Kunjara Dasan', probably as
a tribute to his maternal grandfather. His compositions are philosophical
and his 'Kanda Gnanamudham' is a valuable work. He has published
the works of Kavi Kunjara Bharati also. For his mastery in Todi raga,
he was called 'Todi Koti'. He has sung in praise of Sri Tyagaraja
in his 'Ininamakkoru kavalaiyumillai' - meaning henceforth we have no need
for any worry.'
He was educated in the Sastras and specialized in Vedanta, Vyakarana, Mimamsa, Tarka Sastra, Carnatic music and Naam Sangeerthan under the training of Vaidyanatha Dikshitar Sengalipuram Muthannaval (1830-1893) and Mahamahopathyaya Thyagaraja Mahi Raja Mannargudi Raju Sastri (1815-1903). Krishna Sastri had got his "Ramanama Mantropadesam" from Marudhanallur Kodandarama Swamigal and since then everything was Rama for Krishna Sastri and all what he did all his life was Ram Nama Japam. Sastri became an authority on Valmikis's Ramayana to the extent that he came to be called by people of his town as "Ramayana Sastrigal". Brahmasri Paruthiyur Krishna Sastri did Pravachans for over forty years of his life. Sastri's Pravachans induced Bhakti, he never missed a chance to talk about the virtues of Sri Rama. He used the Ramayana to illustrate several important ideas and concepts from other scriptures, thus providing a clear link between all our major scriptural works. Sastri was a pioneer who made Hindu Religious Discourses an art and a respectable profession. Reading the original sloka and presenting the meaning was the methodology followed by Pundits before. Paruthiyur Krishna Sastri was the first exponent who gave various interpretations and commentary to each verse and created a new style. Renovating and maintaining temples, building a temple for Sri Rama, doing Dhana -Dharma and helping the poor, saying and singing the story of Rama, propagating Sri Rama's virtues, inducing bhakti and good character in the community was the goal of Sastri's Life. Kowmudhisomam,
Rasanishyandini, Nandhi Mangala Slokas, Kavivilasa Manidharpanam, Lakshminarayana
Dhvisahasri, Sita Kalyanam, Ganga Sadhagam, Mahalakshmi Sadhagam, Meenakshi
Sadhagam, Vishalakshi Sadhagam, Yeka Chakrapurram, Krishna Sastri
Ramayanam, Krishna Sastriyin Balakandam, Ramayana Slokas are some of his
works. He had composed hundreds of songs in Tamil and Sanskrit on Rama,
Mahalakshmi, Anjaneya, Narayana and Shiva. Many of his works and palm leaf
manuscripts have never been found. He had written 100 slokas each on each
of the Characters of the Ramayana. This
bhakta attained mukti through Kapala Moksha in 1911.
Krishna Ayyangar
In recognition
of his good services to Carnatic Music and classical rendering, he has
been honoured with titles & honours:
The term 'pada' has been used even in 'Sangita Ratnakara' of Sarangadeva and was used to denote any musical composition. 'Sringara Sankirtanalu' came into vogue since the days of Tallapakkam composers in the 15th century. Kshetragna, in the seventeenth century, appeared as the 'Father of Sringal Padams' and perfected the style. The padam emerged as a distinct genre with a nayaka-nayaki motif, three or more charanams, to be sung in the particular ragas which are conducive to enhance the 'bhava' of the padams. Krishna Ayyar is called the 'Tamil Kshetragna' for the excellence of his padams. Kirtanacharya C.R.Srinivasa Ayyangar writes: Krishna Ayyar
is among the most illustrious composers. Dr.U.Ve. Swaminatha
Ayyar has listed seventy-three kirtans, padams, sindhu and kalithurai of
which fifty-seven were published by him. Some of the compositions
are:
Krishna Ayyar, at the instance of the ruler, learnt from Bobbili Kesavayya the intricacies of 'ghanam' singing and became proficient in it. He found his patrons in Kabistalam Ramachandra Moopanar, Tiruvidaimarudur Amar Singh and Kacchi Kalyanaranga of Udaiyarpalayam. He was close to Choukam Seenu Ayyangar and Sankarabharanam Narasayya. He had met Tyagaraja at Tiruvaiyaru and Paidala Gurumurti Sastri at Madras. The song 'Summa Summa Varuguma Sugam' (Atana) was composed and sung before Tyagaraja. He sang at the reception to the Governor, Sir Thomas Munro at Madras. He had composed songs in praise of several deities in Thanjavur and Tiruchirapalli districts. His devotion to Kacchi Kalyanaranga was too profound for description. He had the obsession that Kacchi's appreciationwas worth several kingdoms. He would have flowered into one of the all-time greats with his erudition, musical acumen but he chose to stick on to that local chieftan of the arid area. he himself posed this to his patron when there was a shade of a lack of cordiality. Krishna Ayyar told him in a song that he stuck to him sacrificing his, all out of love. The patron surrendered since the musician's sacrifice was too enormous and magnanimous to be compensated. Ayyar foreswore a life of meteoric rice and princely luxury and cchose the life of commonplace, by deliberate intent out of sheer regard for a poor patron. Krishna Ayyar's
dedication to art was phenomenal. When Kesavayya started his tuitions,
he would retire to Kabistalam, practise intensely with a will to succeed
and come back fully accomplished and satisy Bobbili and the ruler.
He was catapulted to fame, popularity and status. He had a magnificient
personality and travelled on horse back. When he became old, Kacchiranga
presented him with a palanquin and men. He commanded considerable
respect and his word was carried out earnestly especially in the renovation
of temples, tanks, etc. His signature is 'Velar'. His disciples
included:
Very recently he has been awarded the “ A Top grade by the All India Radio - the highest grade any musician can get from the All India Radio. He has performed at almost all the sabhas across the country apart from playing at the Brahmotstavams at Tirupathi. His performance in the Divine presence of Bhagawan Sri Sathya Sai Baba at Puttaparthy is the most memorable according to him. Noted personalities such as Narayanachar, Rallapalli, Annavarapu Ramaswamy, Ananthakrishna Sharma have attended his concerts. It is also worthy to mention that he has played in the presence of the Shankaracharyas of Kanchi and Sringeri Mutts. Mr & Mrs Krishnamurthy were invited to give programmes in Various cities in Canada during May 2005. His Audio CDs were in good demand every where during their whole tour. His lecture Demonstration at Calgary University was attended by Western Musicians. In July 2006 the Granada International Music & Dance Festival Spain invited Mr.& Mrs.Krishnamurthy to give a Veena duet concert the festival which is an unique honour for the couple for being the first South Indian Karnatic musician to enter into this Country and introduce the divine instrument for the first time in the presense of the fully packed auditorium Consisting of Spanish music lovers. The concert was received with big ovation in the audience preferred to attend this concert than attending the final foot ball match.The music critics of Granada hailed the performance as the divine meditating. The singing of songs along with veena was greatly appreciated. A rare technical wizard who can make electronic Sruthi gadgets, amplifiers and who can construct the Melam on a Veena. Has designed an new compact veena and named it Krishna Veena in the year 1994. Above all he has been a guiding light for more than thousand students when he served as the Principal of Music College in Tirupathi from the year 1961 to 1997. His disciples are mostly All India Radio acclaimed artists, teachers, lecturers at various music colleges across the world. A dream and
love of Bhagawan Sri Sathya Sai Baba came to existence in the form of an
wonderful Music College in Year 2000. He was the most fortunate and the
first professional musician to be invited by Bhagawan to be the Principal
of Music College. A successful administrator and teacher, the students
of music college have presented many programmes of vocal and veena in the
Divine presence of Bhagawan. Had an unique opportunity to give lecture
demonstration in Brindavan summer course in 2002 on spirituality
in music for which alone Bhagawan surprised every body and listened for
the entire programme.
Krishna Ayyar is among the few immortals among violinists. His play was masterly with masculine grandeur and a touch of genius. A prodigy, he could play Ata tala varna on a single string. Actually he did carry on at a concert in 1908 at Gokhale Hall, Madras for about two hours when the panchama string gave way. He could play in four octaves - slow or fast and the swara exercise on a single string . Only top artistes like Maha Vaidyanatha Ayyar, Patnam Subramania Ayyar or Sarabha Sastri could gainfully take him as an accompanist. Lesser celbrities were nervous of his presence as he might dwarf them at concerts. He was at his superb best in his solos as they gave liberty, scope and time for skill, creativity, imaginative play and phrasing. Generally, when he accompanied a vidwan at a concert, a solo on the next day too was arranged. Krishna Ayyar
was very famous for his strenuous daily practice. He would repeat
varnams like:
Regular practice, dedication to the furtherance of his command over his play, skill and proficiency are proverbial. His eternal search for greater excellence was reflected in his consistent practice of swaras in different tempos and octaves. He used to play the swara exercises on a single string. he practised playing in a single stroke of the bow 4, 8, 16,32 and 64 notes. he developed a high speed. He ushered in a technique called 'izhaittu vasippu and produced ascending and descending glides with remarkable effect. Quest for knowledge and excellence knows no barrier or discomfort. Play at a concert is done under constraint and mental editing and censorship keeping in view time, place, mood and level of the audience. Real brilliance, unbridled creativity and originality could not easily be brought out since an isolated wrong note might get wide currency and magnified importance. It is the practice that gives the fullest scope for manodharma, the creative urge and experiments. Krishna Ayyar's early morn exercises were famous. Poochi Srinivasa Ayyangar, a celebrated vocalist, in his anxiety to hear this, without Krishna Ayyar suffering from any inhibition due to his presence, went stealthily, slept at night on the outer pial of the house where Krishna Ayyar stayed at Triplicane during a visit for a concert and heard Ayyar's bold and adventurous art with bow and fingering and the resultant melody stealthily. He was in a trance enjoying the uninhibited creative flights in unexplored regions till Krishna Ayyar came out and found, to his surprise, Ayyangar sitting on the pial. A creative artist has an unsatiable appetite and looks for knowledge, suggestions etc., wherever it comes from as indicated in a Rig Vedic hymn. Krishna Ayyar
was in the midst of a solo in 1904 in Triplicane when news about the demise
of Sarabha Sastri came. The forty-seven year old maestro wept, and
wept as only a sincere heart could, and said:
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Paruthiyur
Krishna was born in the calm and tiny village Paruthiyur on the northern
banks of Kudamuruti River, near Sengalipuram, in Thiruvarur District of
Tamil Nadu, to Lakshmi and Ramasesha Sastri. Paruthiyur Krishna Sastri
grew up to become the greatest exponent of the Ramayana. He was a versatile
Sanskrit scholar well versed in Vedas and Sastras, Puranas and Ithihasas
and all the scriptures. He was a great poet, a writer, composer, singer,
astrologer, philosopher, a famous Harikathakalakshepa and Pravachan exponent.
He was an avid connoisseur of Hinduism and a Philanthropist known for his
Dhaana and Dharma and above all he was the greatest Bhakta with immense
devotion to Sri Rama.
Pudukkottai
Ramaswamy Krishnamurthy born on the7th October, 1939 to Shri. K.Ramaswamy
and Smt. Meenambal at Pudukkottai is an illustrious Vainika Gayaka (meaning
an exponent in both Veena and Vocal) holding high reputation among the
Carnatic Music Fraternity. He had his initial training at the age of 9
from Shri. S.Srinivasan at Pudukkottai and later did his Degree in Music
at the Annamalai University, under the guidance of Late Shri. Gomathi
Shankar Iyer and Late. Sow. M.G.Gaurikumari. His first performance was
in the age of 9 in the year 1953 with Shri. Karaikudi Mani accompanying
him on the Mridangam. He has been awarded with the titles “Vainika
Vidwanmani, Nadha Chintamani, Vainika Panchanana, Chellapalli Ranga Rao
award by the Music Academy, Chennai and the list goes on..