Tyagaraja

Tyagaraja Swami (1767 – 1847 CE), one of the Trinities of Carnatic music, stands tall as one of the most evocative composer-musicians of all time. His compositions continue to be integral in Carnatic music concert repertoires, their popularity cemented by the immediacy of connection to his numerous poignant works.

As a poet and composer, he poured much of himself into his music, so much so, that his compositions offer a gateway to view the human being behind the music and the times he lived in.

Today, Tyagaraja is considered a saint whose life was marked by the austerities of his time. He practiced Unchavritti all his life, an arduous path to tread, as his daily needs as a Grhasta or a householder with domestic responsibilities, had to be met predominantly by accepting alms from the community around him. A life long observance of such a way of life was, in the community he was born into, was meant to dissolve ones ego in the community he was born into.

Toward pursuance of Unchavritti, he studiously avoided singing in royal courts, which he considered to be environments that demanded showmanship, ostentatious music, and music in service to the ruling powers, all of which, in his view were distractions from his sole purpose: to worship Lord Rama (in Sannidhi), the object of his devotion through his music.

Tyagaraja is credited to have composed well over 500 Kritis or songs in Carnatic music, each one an intimate conversation with Lord Rama. Though he led an austere life, he was not by any means indifferent to the society that he lived in. His songs are replete with a social commentary of his times. For instance, though he pursued Unchavritti, through his lyrical music, he periodically refers to the harsh realities of having to seek even salt for everyday use through alms, of having to reside in close proximity with those comfortable with double standards, and of the changing moral landscape of his times, despite not making even a single reference to the over-arching turmoil of British colonial hegemony during his life.

Although Tyagaraja taught his compositions to several students, and had an influential following that deified him, his compositions reveal a sense of incredulity and discomfort with this exalted view of himself. He continued a life in pursuance of Unchavritti and often pleaded for release from life, and for lasting oneness with Lord Rama.

Tyagaraja and his life have been reproduced on stage many times, as they should for a musician who occupies the exalted position that he does in Carnatic music.

Why is this upcoming production on his life experimental at all?

We seek to navigate legend and the body of his work in a quest to access the human being behind it all. Another reason for this is that we are situating this production in Utah, and seeking to convey some sense of the beauty of his work, and the yearning he poured into it, in a cultural landscape that may be unfamiliar with Carnatic music.

Reference: Tyagaraja – Life and Lyrics

By William J. Jackson

Melodic Composition and rendition through voice and Veena: