Dr. Rukmini Ramani’s “Sakala Devathapriya 72 Melaraga Kritis” have been captivating listeners on platforms like YouTube. These kritis, titled aptly to represent their essence, explore the musicality, lyrical beauty, and profound knowledge of various deities and their associated stalas.
One remarkable aspect of these compositions is the musical beauty they possess. Many kritis feature Raga Mudhra, where the raga itself is intricately woven into the lyrics. For instance, in the 25th melakartha kriti “Maara Ranjani” dedicated to Lord Muruga, the charanam beautifully repeats “Maara Ranjani-Ku, Maara Ranjani-Suku, Maara Ranjani-athi suku, Maara Ranjani.” This element adds a touch of elegance to the compositions.
Some kritis also delve into stala puranam, narrating the stories and significance of specific temples. For example, the kriti on Vaagadeeshwari in the 34th melakartha sheds light on Thiruvarur Veedhi Vidangar and his Ajapa Natanam, offering a wealth of information through its lyrics.
Dr. Rukmini Ramani’s compositions showcase her mastery of various musical elements. Many kritis feature Madhyamakaalam, as well as chittaiswaram. Swaraksharam, a gamaka reminiscent of her father’s compositions, is also present in several kritis, adding to their beauty.
Furthermore, the kritis explore different talams, expanding the rhythmic diversity of the compositions. Alongside the familiar Adi, Rupakam, and Chapu talams, Dr. Rukmini Ramani has composed in talams like chatustra jaathi Dhruva Talam – thisra nadai, kanta jaathi Ata Talam, thisra jaathi rupakam, chatusra jaathi matya talam, kanta jaathi ekam, Adi Talam kanta nadai , and Adi Talam tisra nadai . This variety provides valuable learning opportunities for students of music.
The lyrical beauty of Dr. Rukmini Ramani’s kritis is equally captivating. The simplicity of the lyrics, combined with elegant chandas (metrical patterns), allows for creative exploration through sangatis (melodic variations). Even a mere reading of the lyrics reveals prosodical beauties like Edugai, monai, and anthara akshara Prasa, making them a delight to the ears. When accompanied by the appropriate ragam and talam, the grandeur of the compositions truly shines.
Dr. Rukmini Ramani’s compositions are skillfully crafted in Tamil, Sanskrit, or manipravalam (a mix of both), much like her father’s. For example, the kriti in the 57th melakartha, Simhendra Madhyamam, is in Sanskrit, while the 41st melakartha kriti, Paavani, starts with the raga mudhra Paavani and blends Tamil and Sanskrit in its lyrics.
The kritis of Dr. Rukmini Ramani provide a wealth of knowledge and artistic inspiration for students of music. Their rich musicality, expressive lyrics, and cultural significance make them a cherished part of the Carnatic music repertoire.
Exploring the Deity-centric Fusion of Ragas and Kritis in Dr. Rukmini Ramani’s Compositions
One of the captivating aspects of Dr. Rukmini Ramani’s “Sakala Devathapriya 72 Melaraga Kritis” is the seamless fusion of ragas and deities. Each raga chosen aptly represents the divine persona being glorified in the kriti. Let’s delve into some noteworthy examples that highlight the extraordinary imagination and lyrical beauty displayed by Dr. Rukmini Ramani.
- Senavathy (7th Melakartha Raga) – Lord Muruga and Devayanai: In this kriti, Dr. Rukmini Ramani beautifully aligns the raga Senavathy with Lord Muruga and his consort Devayanai. The kriti starts with the pallavi: “Senavathi-Deva, Senavathi-Devendran Eendra Devayanai enum (Senavathi).” This imaginative fusion of ragas and deities showcases Dr. Rukmini Ramani’s extraordinary creativity. It’s noteworthy that there are not many kritis dedicated to Devayanai, making this composition even more special.
- Thanarupi (6th Mela) – Lord Muruga: The lyrics in this kriti on Lord Muruga are remarkably beautiful. The pallavi begins with: “Indra jaalam pola Vandane Ilayavan Iniyavan Azhagu mayil meedhileri (Indra).”
Dr. Rukmini Ramani’s artistic vision vividly captures the image of Lord Muruga. - Deepambhike (8th Melakartha) – Goddess Ambikai: The choice of raga Thodi for a kriti on Deepambhike (Goddess Ambikai) is influenced by Dr. Rukmini Ramani’s father, Papanasam Sivan. Notably, Sri Papanasam Sivan’s lesser-known song “Paaril Nalvazhi Kaati” is also in the same raga, emphasizing the impact of her father’s musical influence on her.
- Sarasangi (27th Mela) – The pallavi resonates deeply: “Gangaikku nigaraana Nadhiyum illai uyar Kaasikku nigaraana Pathiyum illai.” These simple yet impactful words, when sung, leave a lasting impression on the listener, thanks to the emotive rendition.
- Charukesi (26th Mela) – Kriti on Karpagam: In the kriti in the 26th mela, Charukesi, dedicated to Goddess Karpagam, the lyrics beautifully fall into place, conveying the aptness of the words: “Naadhamum neeye vinodhamum neeye…”
- Yagapriya (31st Mela) – Kriti on Lord Shiva: The pallavi of the kriti in the 31st mela, Yagapriya, sets the tone: “Aaduvom geetham paaduvom padam naaduvom ondru kooduvom.” The charanam continues to showcase Dr. Rukmini Ramani’s devotion to Lord Shiva and the importance of the guru: “Yaagapriyanai dhyana nilaiyil Aagamum uraitha Adhi guruvai.”
- Rupavathi (12th Mela) – Kriti on Goddess Parvathi: In the kriti in the 12th mela, Rupavathi, dedicated to Goddess Parvathi, the charanam beautifully expresses: “Shivakumarikkarul Athirupavathi thaye…”
- Divya Mani (48th Mela) – Kriti on Lord Ayyappa: The kriti in the 48th mela, Divya Mani, glorifies Lord Ayyappa. The last line of the charanam goes: “Athi Dhivya manikanda thuthi shiva kumariyin…”
- Dhavalambari (49th Melakartha) – Kriti on Goddess Saraswati: The kriti in the 49th melakartha, Dhavalambari, dedicated to Goddess Saraswati, incorporates madhyamakalam in the pallavi, anupallavi, and charanam, showcasing the rhythmic beauty of the composition.
- Rishabha Priya (62nd Melakartha) – Nandhikeshwarar: Dr. Rukmini Ramani’s kriti on Nandhikeshwarar in the raga Rishabha Priya includes impactful lines like: “Neer enna punniyam seidheero” (Pallavi) and “Pradhosha velaiyil mudalil abhishekam kondanaiye Sakala dhosha mudhal vinaiyara Sandhosham pongida saibhavane” (Charanam). These powerful expressions capture the essence of the deity.
- Chitrambhari (66th Melakartha) – Lord Krishna: In the kriti on Lord Krishna in the raga Chitrambhari, the charanam reflects the beauty of the lyrics: “Paapangal poruthidum krishna krishnaa Chithamum seyalgalum neeye krishna sondhamum bandhamum neeye krishna Swasamum dhyanamum neeye krishna Shiva Kumari charanadaindhen krishna krishna.”
- Sucharithram (67th Melakartha) – Lord Narasimhar: The kriti in the raga Sucharithram on Lord Narasimhar captures the divine narrative: “Undhan charithram punya charithrame – sucharithram Endham janma saapalyam alithadhen pavithrane narahariye.”
- Kosala (71st Melakartha) – Lord Rama: In the kriti in the 71st melakartha, Kosala, dedicated to Lord Rama, Dr. Rukmini Ramani adeptly condenses the essence of the Ramayana into a 12-line composition, beginning with “Dasharatha Rama.”
Conclusion: Dr. Rukmini Ramani’s “Sakala Devathapriya 72 Melaraga Kritis” showcases her extraordinary talent in fusing ragas and deities. The examples discussed above demonstrate her remarkable creativity, lyrical prowess, and devotion to various gods and goddesses. These compositions not only entertain but also inspire a deep connection with the divine, leaving a lasting impact on the hearts of rasikas.