Introduction:(January 1870-October 21, 1936) An eminent composer in Tamil, Koteeswara Iyer was a grandson of the great scholar and composer, Kavi Kunjara Bharati (1810-1896), who authored the Skanda Purana kirthanas, Azhagar Kuravanji and several kirtanas. Bharati was a prolific composer and in Koteeswara Iyer one sees a worthy and capable successor in the family. Koteeswara studied at Manamadurai, Tiruchirapalli and Madras. Initially, he was in the Criminal Intelligence Department and later translator 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'. Koteeswara Iyer 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.' Those were days when forty of the Melakarta ragas were deemed as Vikriti ragas (Vivadhi ragas) and hence ‘dosha ragas’, that could not be sung in concerts. Before Koteeswara Iyer’s period, Maha Vaidyanatha Sivan had composed a lengthy Ragamalika in the 72-mela ragas. But Koteeswara Iyer was the first one to compose separate songs in Tamil in all the Melakarta ragas with his vaggeyakara mudra, ‘Kavi Kunjara Dasan’ and also the raga mudra, which blended smoothly with the lyrics. All the songs are dedicated to his kuladeva (family deity), Muruga and hence titled ‘Kanda Ganamudam’. The songs are highly poetic and are adorned with swarakshara sandhi-s, beautiful sangatis (musical phrases), raga bhava and depth. Even vidwans considered Vivadhi ragas as difficult to handle. But Koteeswara Iyer, at the age of 47, not only composed his Melaraga kritis but also demonstrated and popularised them.
Prerequisite: Should have learnt the basics (sarali varisai to varnam) and 10 small kritis and 15 kritis with sangathis and understanding of the Melakartha Ragas and their scales clearly.
No. of Sessions : 10(1hr)
Class size : Individual
Content
5 Kritis will be chosen from the Melakartha chart depending on the ability of the student to sing.
Session:1
- Introduction to the Koteeswara Iyer kritis
- Details of the Kriti 1 (Brief explanation about the importance of the Kriti, Raga,
- Arohana Avarohana-swaras involved, Important phrases of the Raga etc)
- Learn Pallavi and Anupallavi
Session:2
- Revision of Pallavi and Anupallavi
- Learn Charanam of Kriti 1
Session:3
- Revision of Kriti-1
- Details of the Kriti-2,(Brief explanation about the importance of the Kriti, Raga,
- Arohana Avarohana-swaras involved, Important phrases of the Raga etc)
- Learn Pallavi and Anupallavi of Kriti-2
Session:4
- Revision of Pallavi and Anupallavi of Kriti-2
- Learn Charanam of Kriti-2
Session:5
- Revision of Kriti-2.
- Details of the Kriti-3,(Brief explanation about the importance of the Kriti, Raga,
- Arohana Avarohana-swaras involved, Important phrases of the Raga etc)
- Learn Pallavi and Anupallavi of Kriti-3
Session:6
- Revision of Pallavi and Anupallavi of Kriti-3
- Learn Charanam of Kriti-3
- Revision of Kriti 1,2
Session:7
- Revision of Kriti-2, 3.
- Details of the Kriti-4,(Brief explanation about the importance of the Kriti, Raga,
- Arohana Avarohana-swaras involved, Important phrases of the Raga etc)
- Learn Pallavi and Anupallavi of Kriti-4
Session:8
- Revision of Pallavi and Anupallavi of Kriti-4
- Learn Charanam of Kriti-4
- Revision of Kriti 1,2
Session:9
- Revision of Kriti-3 4.
- Details of the Kriti-5,(Brief explanation about the importance of the Kriti, Raga,
- Arohana Avarohana-swaras involved, Important phrases of the Raga etc)
- Learn Pallavi and Anupallavi of Kriti-5
Session:10
- Revision of Pallavi and Anupallavi of Kriti-5
- Learn Charanam of Kriti-5
- Revision of Kriti 3,4
Note:
The number of kritis is subject to modifications depending on the student’s abilities and preferences. Revision of the krithis will depend on the time availability.
