Thursday, August 5, 2021

Kaddanuvariki……

SreeRagam 19

Kaddauvariki is a profound kriti of Tyagaraja in Thodi raga in which he pleads Lord Rama to grant him a boon of his darshan. Tyagaraja pours out his love, devotion and longing in the beautiful swaras of Thodi. The intrinsic beauty of thodi raga swaras subtly express these emotions and enchant the rasikas to revel in nadaamrutham,  an ocean of musical bliss.

Also read: Tulasidalamulache……

ThodiChakravarthy

T Rajaratnam Pillai was a renowned Nadaswaram vidwan who was popularly known as ThodiChakravarthy for his expemplary musical skills (1898 – 1956). He was an authority on Thodi raga who could elaborate and revel in the musical glory of the raga for prolonged hours. People in the vicinity were specially attracted to visit the temple during early morning hours to listen to his divine nadaswaram. His spectacular image as a versatile musician glorified nadaswaram that was once confined only to temples to reach the concert halls as an accredited instrument.

Also read: Samaja Varagamana

Structure

ArohanaS R1 G2 M1 P D1 N2 S

Avarohaṇa : S N2 D1 P M1 G2 R1 S

Shadja, suddharishabham, sadharanagandharam, suddhamadhyamam, suddhadhaivatham and kaisikinishadham. It is asampoornarāgam which has all seven swaras in the musical scale.

It is named as Hanumathodi, to fit into the 72 Melakarta raga nomenclature. An ancient raga, which is the equivalent of Bhairavithaat in Hindustani Classical music. It is the 8thMelakarta raga and is a favourite of the musicians in concerts.

Also read: Vatapi Ganapatim Bhaje…..

As per old musical treatise written by VenkataMukhi, Thodi raga was adopted into the Carnatic classical music around 700 years ago.

The complexity in handling the swaras also makes it one of the difficult ragas for rendition. Thodi is one of the most appealing ragas in Carnatic classical music. A tone of heaviness in the swaras elevates the raga and creates a profound ambience. It is quite often featured in concerts and the artists take up the challenge to present the beauty of the raga with captivating gamakas, enchanting elaborations and imposing presentations. RagamTanamPallavi is a complex segment in a concert wherein an artist’s expertise in presenting the raga is unveiled. Thodi raga is a preferred raga for this segment as it has immense scope for a vast portrayal of the swaras in various combinations. It is definitely a raga of challenge and it takes years of practice to achieve perfection in rendition.

Also read: Pakkala Nilabadi…..

Thodiragam is known to evoke karuna and bhakti rasas.

In music therapy, thodi raga is prescribed for treating traumatic brain injuries and other neurological disorders.

Compositions

Tyagaraja, the towering glory among the galaxy of composers, created twenty spectacular compositions in this regal raga. Probably he is the only vaggeyakara especially among the musical trinity to have employed the raga so extensively in his compositions.

Also read: Jagadananda Karaka…

Kaddanvariki, Raju Vedala, Dasarathi, Aragimpave, Raju Vedale, chesinadella, NeevantiDaivamu are among them.

Deekshitar composed a few worthy compositions in Thodi like Sri Krishnam Bhajamanasa, Dakshayani, Kamalambike.

Also read: Endaro Mahanubhavulu……

SyamaSastry’s heartfelt plea to Goddess Devi can be felt in his compositions like RaaveHimagiri, Ninnenammi

SudhanidheMamavaSada is a priceless composition of Dr M Balamuralikrishna.

Thodi raga in film music

Telugu

EvaroVastarani edochestarani (Bhoomikosam)

Eegeeta geesina nee roopame (Muttaiduva)

Hindi

Ekritu aye ekritujaye (Gautam Govinda)

Hanse timtim (Sanskar)

Jaago Mohan PyareJaago (Jagte Raho)

Mohe Bhool gaye sawariyan (Baiju Bawra)

Also read: Paluke Bangaramayena…Ananda Bhairavi

Sreelakshmi Avadhanam
Sreelakshmi Avadhanam is a journalist, content writer, freelance translator and is trained in Carnatic classical music. She also holds a Master’s degree in music. Playing the Veena and singing have been a part of her life since childhood. She also performs on stage whenever an opportunity arises. 

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