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Article to be published in Karnataka Malla on Monday,the 9th Dec. 2002.

f v v q. `f' PPt

v CjP , P CsU-15

AVvz j JZ. AiUgAA, dv- MAz gu

AiUgAA CjU JAl P. Lz UAq v g t. gzz, Q gdt, gAitzv, gA, Pj tA, gdU, gd CZvg, PAz. jAi U gzz(`j') z vPvg. zs EAg UAAig Ugg DVzg. g PgAvg  PzAjU EAV sU Cz QwU. gAitzvg Av U A sAi zAg. `v' JA A qe AzPgVzg, .n.L.v AAi A sUz RgVzg. q.gA Cg z zAiz f P e. q. gdUg CjPAi vAvez zsPgVAi, Gzz UgVAi Pir g Uzg. PAz EAfAigg. J tP Qvg, AVvz UwAig. Eg Lz d P vAzAi U gzg.

gzzg vAzAi U gAiv gAi Ai AzU vAz U `v'Av Ptwzg JAz vg. Cg PAi Ugq Z EvAv. Ai vAiiz U rz, Pz Az rz  zg V l gwzgAv. jPAi RgVAi AAPg s irzgA Cz wzgAv.

gA Cg vAzAi U CP DwAi Ai gzg.  Pz vqVzU Pq Cg snAiiU Azg vAz PtwzgAv. UP PtP JAz U PzU, " jQ Aiigz Aii zg AiiU gv Pu." JAzgAv. CwyAi zgAv PAqg Eg. jAi U(j) 1942 g ZAi sUz Eg  gPj CPjUU jgz EzU Cg UAU wz jw Dzz wPVvAv. Cg AVv zsAi U, PU gz Azg vU U gAivg. gAzx mUgg s Cg  DVvAv. Aw PvP sn rzgAv. v Av Pf gVzU PiZAijAz AiU Pv PU PqwzgAv.

gdUg W R gzg. Pz PAv lPz Cg Ptg vzgAv. PUU v gAAid irzgAv. ZqAig nzP, mUg gzZAig AVvP P PgzPAq UwzgAv. EjU Az AVvz vA M EvAv. sd S,C PjAS, AiPg lzs, NAPgx oPg, g qzPg, UAU U, qUA C S EgU Ai AVv A DPtAz w gw 10 UAmU vgUwvAv. Cz vz DvzgAv. Eg Pw "VvPiAd" U gAivg. JA.J.QAig Eg PwU JZ.JA..UV (Eg Cz Avg) CsvV rzg. CjU dg g Cg gtU vA EVvAv. Cg `rj Ds EArAii' UAx PAz N PwzgAv. CzsP Zgzg DVzg JAzP Q Cg `G'DVv. Czg Cg v CAv QAi `EQP QmjAiA' qAiPAz gzgAv. v PAi U `CsPVvA' JA P gazgAv. Cz Cg `fvz a'Ai wPVvAv.  gdU v iU gAivg. Eg evP vjzU `Jgq vU evP ZV Pqv' JAzgAv.(Eg vAz zA J.UAqg AiUgAA Cg DwAigVzg).

U Q gdt Ai q w gz sdAi U gAivg. CP  g zZAig sd P gvzgAv. U gd CZvg vAzAi  AVv Pwzg. Cg Pt vz Azs  gAivg "Aiiz vU PU PPqU EAv zBRzg E Ug q JA Pt AzAi ("Aiivz PAvw zAiA AvAoAii...") C Pt vzsjAiiV z zs gUz   PgUAv rzg." vAzAi Avz gZU U gAiv A z U gAivg. "Cg MAzAz gZU Kzg  Egwv. CjU A PPQzAv PvAz igAi U   zg. " gA d irgP" JAz  vi irz. D Avg P gUz " Aa zgg gA" JA Pw ga PAi Zgtz ("P.. Pziz  zQ") JAz v P gu Pnzg,". AVvsUU Cg MAz Ul vzgAv. "MAz  Cs iqzg U K Pgv vgvz. JgqAi  qzg,  vjU  PAoz Pgv Ptvz. gAi   Cs iqzg  vU   Pgv wAivz." JAz.

Recollections JA sUz EgU CP EAV RU. n. zA (QAig w) Eg jAi Ugw MAi Gzg vUAivg. "His contribution to the enrichment of classical Karnatic music is definitely significant and therefore his creations will be used, nurtured and propagated by all young musicians in future."JAz.

AiUgAA Cg v Ai 74Ai  (14 , 1966) AUg Ugzg. Cg dv gt UAx 1998 g PlUArv.

F UAxz AiUgAA Cg P DAi EAV RU PnVz. `g zZAi' JA z R z ` Az'wPAi PlVv. D R rzg Eg AVvz sv qz DAUsAi xV gAi gVzgAz wAivz. VOICE CULTURE: An Urgent Problem in Karnatak Music JA R `P U id'z gt AaPAi PlVv. THE MUSICAL SCHEME OF NAVAGRAHA KRITIS OF MUTHUSVAMI DIKSHITAR JA Rz gPg Aiz. v Qvg Cg AVv zy zzA vAAi JAU wP m  (acute colic pain) Ev, J zQAi GAiU gAiPzU M ew UAw iq  EvAv. C UgU  PzAv. DU Qvg `UPw'U gaPl MAz g CU Cs(q) zgAv. U gUAz w Q zgvAv. UU viqU Aii gUU PAz wzg.

AiUgAA Cg Rz MAz aP CvgtP E Plg Cg Arvz g U vgz.

"It is said that Thambiyappa, after his own cure, acquired the power of healing other colic patients. And so the story is adduced as an evidence of believing that the Navagraha Kritis were composed for their healing value. If this tradition is true we can draw the corollary that this healing value of the kritis is still there for anyone to test and experiment with.

Next to the healing efficiency fo these kritis the originality of the Sanskrit Sahitya is worth noticing; for the songs here do not contain phrases just borrowed from the Graha Kavachas and Graha Stotras contained in our Puranas and devotional literature, but are original hymns minted by our great composer. But I will not dwell long on the literary side of the kritis, for it is their musical side that forms the subject matter of this paper.

The first kriti is on the planet Sun. It begins:
``Aiv v,
AzgZAiiv''.
Ai, DAiv, DgUw, iSu, sgwjgv are some of the epithets used. The hymn to the Sun is set to the raga Saurashtra. In Diksitar's school, Saurashtra is a Sampurna raga, sung at all times (Sarva-kalika). The Panchasruti-Dhaivata of this raga brings out the unparalleled power and brilliance of the Sun. The Jaru from Shuddha-Madhyama over Antara-Gandhara down to Shuddha Rshabha well expresses the Bhaktibhava of the devotees. The phrase  v coming from Madhya-Sthayi down to Mandra-Panchama reflects the humble obeisance of the devotee. The raga Saurashtra is derived from the first raga practised by our musicians, viz., Mayamalava Gaula, and affords scope for the portrayl of Vira-rasa in the Uttaranga and by contrast the Bhakti-bhava in the Purva-anga and is thus best suited for humbly saluting the first and foremost of the Grahas, Surya. So this Surya Graha Kriti bears testimony to the sense of propriety and power of introspection of Dikshitar." (The Journal of the Madras Music Academy Vol.xxxii, 1961)

AiUgAA Cg mgAq g Cg The Conquest of Happiness UAx PqP ("Rzs") Czg. P U gzg."PiAd" JAz Cg Pq Pw. "AP"  PAig DvPvAi Cz. Ez CAR RU CP wPUU gzgAv. EU AU( Cg P vU ) F gt UAxz jzg  MAizUwv. E jAz Cg U RU gPVv. Cg U gAitzv Cg R g. Cz zq PgvAiiV Ptvz.  gAitzvg AAi CP PArz. Cg Arvz gaAi CgAU qz Azz Csz. eAiiz gdU v vAzAi U 40 lz gvz R gzg. w gAitzvg MAz g l gAizVv. vAzAi Av Arvz U zgtV jzVv. jAi U j (JZ.Aii.gzz) Lz lU ZlP R gzg. E Z gAiv. AiUgAA Cg g Cg Av Pf gVzU AiUZAi PiZAig C AiU PqwzgAv. EAz zz AiU  zq itz Zgiqwg  vz AiUUgU (.P.J.CAiAUg, m e, zPZAi, z) PiZAig UgrAi vAiigz AiUlU. CjU AiU P CPvAi Cg Av Pf irPqzg AiUgAA Cg vA vz vg P. Czg gU U Azst Rz Pgv Jz Ptwz. F UAxz Uv g lUzVv. EAx Czsgt QAi U Eg F UAx vzAwz. S UAx E Az g JAz D.***