Date: Mon, 17 Jul 1995 12:33:44 -0400
Subject: Muthiah Bhagavathar.
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A versatile composer
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Muthiah Bhagavathar occupies a distinguished place among
the
post-Tyagaraja composers of classical Carnatic music. A
tribute
on the occasion of his 50th death anniversary.
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Muthiah Bhagavathar was a leading luminary, one of the
few musicians who combined good story-telling with high
quality
of music, late E. Krishna Iyer had rightly said.
Born in 1877 at Punaiveli, near Srivilliputtur and having
lost his father at a tender age, Muthiah Bhagavathar came
under
the tutelage of his maternal uncle at Harikesanallur, who
exposed
him to the Vedas, under the guidance of Muthu Ganapadigal
of
Tiruvayyar. At that time, Tiruvayyar was the home of classical
music exponents such as Maha Vaidyanatha Ayyar and
Patnam
Subrahmania Ayyar. Attracted by their music, young Muthiah
gave
up his `adhyayana' and switched over to the study of classical
carnatic music. He became a disciple of violin vidwan
Sambasiva
Ayyar.
At 16, after completing his studies, Muthiah Bhagavathar
returned to Harikesanallur and devoted himself to music
practice
for three years. He gave concerts and soon became a
recognised
vidwan. His performance before the Maharaja Mulam Tirunal
of
Trivancore in 1897, fetched him the highest State honour.
The death of Thanjavur Krishna Bhagavathar left a void in
the field of Harikatha, and Muthiah Bhagavathar joined vidwans
Anantharama Bhagavathar and Vedanta Bhagavathar in taking
to
Harikatha. His fine personality, wonderful power of exposition,
scintillating wit and humour, besides his knowledge of Tamil
and
Sanskrit, helped him, and his reputation as Harikatha exponent
surpassed that as a music vidwan. The Kalakshepams he
popularised
include ``Valli Parinayam'', ``Sati Sulochana'', and ``Tyagaraja
Charitram.''
In 1905, he went to Thanjavur and lived there for three
years with his uncle Lakshman Suri and established himself as
a
concert vidwan and a Harikatha performer. He specialised the
theory of Indian music with the foundations laid by Sambasiva
Ayyar. He established contacts with famous vidwans, including
Abraham Pandithar, who associated Muthiah Bhagavathar in
his
work. The latter availed himself this opportunity to gain mastery
over his subject.Muthiah Bhagavathar began to compose
kirtanas
and wrote his own `nirupanams' for his Harikatha
performances.
Soon he established himself as a composer of kirtanas. He
was
patronised by the Raja of Ettayapuram, Raja of Ramnad and
Zamindar of Andipatti. p73
In 1927, his concert before Maharaja Krishna Rajendra
Wodeyar, during the Dasara festival won him the title ``Gayaka
Sikhamani''. He was also appointed as an Asthana Vidwan and
as
desired by the maharaja, he composed Ashtothara Satha
Kirtanas in
praise of Chamundeswari, followed by another on Siva and
the
Navagraha Krithis. He also composed several varnams,
ragamalikas,
darus and tillanas.
Muthiah Bhagavathar presided over the Annual Conference
of the Music Academy, Madras, in 1930 and was conferred
the
`birudu' Sangita Kalanidhi. He also served as Principal of the
Teachers' College of Music from 1932 to 1934.Unable to bear
the
sudden demise of his only child in 1928, he went to Benares for
about six months, when he heard a good deal of classical
Hindustani music and also evolved `Hamsanandi', which has
become
one of the most famous ragas.
Muthiah Bhagavathar, whose 50th death anniversary is
being observed this year, was known for his captivating
discourses, sparkling wit and matchless music. His
compositions
were innumerable both in Sanskrit and Telugu. He displayed
remarkable versatility in handling rare ragas. His 103 kritis on
Chamundeswari are a substantial contribution to music
literature.
His compositions are marked by originality, vigour and
systematised variations.
Muthiah Bhagavathar's disciples include Madurai Mani Iyer
and Budalur Krishnamurthy Sastrigal.
N. V. R. SWAMY.
--
Puduhai Sreeram
psreeram@pms238.pms.ford.com
-- Kishore Balakrishnan (kishore@carnatic.com), July 21, 2001.