Maestros of Composition in Kerala’s Musical Legacy

 Kerala boasts a legacy of diverse art forms, including folk songs, classical music, and devotional compositions by various state composers. Music has been integral to the social and religious life in Kerala for many years. The state has produced many musicians, composers, scholars, and poets who have contributed greatly to the art. Notable figures from the Pre-Swathi Thirunal period include Sri Sankaracharya, Prince Aswathi Thirunal (1756-1788), Her Highness Rani Rugmini Bai (1809-1837), Kulasekhara Varma Devan (14th century), Manaveda Raja (17th century), Kunchan Nambiar (17th century), Kottayam Kerala Varma (1645-1696), Unnayi Variar, Ramapurathu Variar (18th century), and Maharaja Ramavarma of Travancore (1758).

Travancore, the southern part of Kerala, was historically referred to as “Sreevazhumcode,” meaning a ‘Prosperous land.’ Blessed with natural beauty and rich culture, it developed under various eminent rulers from the Royal family of Travancore, who were great patrons of art, literature, and music. The second quarter of the 19th century is considered a golden period for Carnatic music globally and particularly in Kerala. This era saw the contemporaneous presence of the Carnatic music trinity—Tyagaraja, Muthuswami Deekshitar, and Syamasasthri— and prominent composers like Swathi Thirunal, Irayimman Thampi, Kuttikkunju Thankachi, Vadivelu, Palakkad Parameswara Bhagavather, and Shadkala Govindamarar.

Maharaja Swathi Thirunal (1813 – 1846),a king among composers and a composer among kings, significantly contributed to this period. His reign marked the zenith of Carnatic music in Kerala, fostering music by bringing various musicians and composers to his court, thereby exposing the people of Kerala to diverse musical styles. Carnatic music evolved from the Sopanam style to its broader and more eminent contemporary form. The works of Advaitha philosophy exponent Sree Sankaracharya, such as ‘Soundarya Lahari’ and ‘Bhajagovindam,’ mark the beginning of Kerala’s refined musical legacy

Kottayam Kerala Varma (1645-1696)

Kottayam Kerala Varma, a pre-Swathi Thirunal composer, authored two significant works: a Ragamala, “Kalaye Gambodhirasanalaye,” dedicated to Goddess Parvati with 32 ragas, and the kirtana “Dhyayemanisam Sree Padmanabham,” addressed to Lord Padmanabha, featuring Pallavi, Anupallavi, and six charanas.

Aswathy Thirunal Ramavarma (1756-1794)

Aswathy Thirunal, an early composer before Swathi Thirunal, created Sanskrit prabandhas and five Kathakali plays. His kirtanams are still performed daily at the Sree Padmanabha Swami Temple in Thiruvananthapuram.

Maharaja Swathi Thirunal Rama Varma (1813-1847)

Swathi Thirunal, Kerala’s most celebrated composer, authored numerous works in Sanskrit, Marathi, Telugu, and Malayalam, blending literary and musical beauty. His notable pieces include Navaratri Kritis, Navavidha Bhakti Kritis, and various Prabandhas. His compositions for temples in Thiruvananthapuram reference historical events, like “Jaya Jaya Padmanabha,” celebrating the tradition of lighting temple lamps. Under his patronage, Carnatic music flourished, with extensive support for musicians and dancers.

Iravivarman Thampi (1782-1856)

Iravivarman Thampi, known as Irayimman Thampi, is recognized as the first composer of Malayalam kirthanas, enriching Malayalam literature and Kerala’s musical traditions. His lullaby “Omanathingal Kidavo” for young prince Swathi Thirunal was translated into English by Fox Strangways in “The Music of Hindustan.”

Contributions and Features of His Compositions

Irayimman Thampi’s works span Carnatic music, folk music, Kathakali, Mohiniyattam, and Thiruvathirakkali/Kummi. He authored three Attakkadhas and composed Varnas, Keertanas, and Padas, known for their simplicity and sweetness. His significant pieces include “Prana Nadhan Enikku Nalkiya Paramananda Rasathe.” Thampi uniquely contributed to Varnam, Keertanam, and Padam categories of Carnatic music. His contributions include five Malayalam Keertanas, 21 Sankeertanas, five Varnas, and 21 Padas, excelling in various bhavas. His compositions feature rare ragas like ‘Kukubha,’ ‘Jingala,’ and ‘Manji,’ with prosody elements like Dvitheeya Akshara Prasa, Anuprasa, and Antya Prasa. Thampi’s mastery of language and Kathakali is evident in “Kshoneendra Patniyude.” His song “Veera Virata Kumara Vibho” from ‘Uthara Swayamvaram’ is ideal for Kummi and Kaikottikkali. Other notable pieces include “Karuna Cheyvan Entu Tamasam Krishna” in Sri Raga, “Atimalarina Thanne Krishna” in Mukhari, “Neela Varna Pahimam” in Suruti, “Pahimam Giritanaye” in Saveri, and “Sambho Goureesa” in Kedaragaula. The padam “Arodu Cholven,” with 26 charanas, is another unique contribution.

K.C. Kesava Pillai (1868-1913)

A scholar in both music and literature, K.C. Kesava Pillai earned the title “Sarasagayaka Kavimani.” Along with Swathi Thirunal and Irayimman Thampi, he is part of the ‘Sangeetha Thrayam of Travancore.’ Kesava Pillai composed around 200 pieces, including kritis, keertanas, namavalis, and musical dramas. His three Attakathas, “Hiranyasura Vadham,” “Surapadmasura Vadham,” and “Sreekrishna Vijayam,” showcase his literary versatility. He enriched Carnatic music with his Kshetra kritis, like the Mohana raga kriti for Pozhikkara Devi, featuring the stala mudra in the pallavi.

Kuttamath Kunjikrishna Kurup(1880-1943)

Known as the ‘Bhakta Kavi’ of modern Kerala and awarded the title ‘Mahakavi,’ Kurup was a scholar in Sanskrit and Vyakarana. His popular compositions include “Bhajanam Cheyvin Krishnapadam” in Bagesri and “Palolum Bhashini” in Amritavarshini. He passed away in 1943.

C.S. Krishna Iyer (1916-1998)

Born in Palakkad, Krishna Iyer studied music under T.S. Sabhesa Iyer and Tanjore Ponnayya Pillai. He received the Sangita Natak Academy Award for his contributions to Carnatic music. Notable among his kritis is “Ambike Jagadambike” in Ritigaula, set to Misra Chapu Tala, popularized by his own performances.

Puthucode Krishnamurthy (1923-1985)

Puthucode Krishnamurthy, from Palakkad, was the principal of Chembai Memorial Music College. He composed over 200 pieces in Malayalam, Sanskrit, Hindi, and Tamil, using simple Malayalam in his works. His notable compositions include group kritis, Navagraha Kritis in Malayalam, Ghanaraga Devi Pancharathnam, Shodasa Kritis, Dasavathara Ragamalika, and Ramayana Ragamalika. He also composed for specific festivals like Kalpathy Radholsavam.

Women and Timeless Tunes

The legacy of women composers in Kerala highlights their profound impact on the region’s musical and cultural heritage, blending traditional bhakti themes with innovative lyrical and melodic contributions. The slow changes in the social structure of Kerala brought many opportunities for women to express their talents in the field of music. ‘Bhakti’ being the main theme for music, women composers also handled the same topic and enriched the music field with considerable contributions. Due to their gender individuality, a new approach in ‘bhakti bhava’ was evident in their poetry and compositions. Rani Rugmini Bai and Kuttykunju Thankachi hold a very prominent place among the women composers of Kerala.

Rani Rugmini Bai Thampuratti(1809-1837)

Rugmini Bai was the elder sister of Maharaja Swathi Thirunal and was talented in music and poetry, like other royal composers. Among her several kritis, ‘Sreekantesa Pahi’ in Mukhari raga and Adi tala is a significant kriti addressed to Lord Sreekantesa of Travancore. She composed another kriti in Malayalam, “Sree Vasudeva,” in praise of Lord Krishna with 16 ‘Charanas’. Each ‘Charanam’ starts with A, AA, E, EE to represent the Malayalam alphabets, which is also a unique feature of this nature. Another unique and beautiful composition is ‘Sarasija Nayane,’ named ‘Saptaswara Sankeertanam,’ composed in puranira, an ancient raga, in praise of the Goddess. There is a pallavi and seven charanas in this composition, and each sahithya starts with the swaras of sapta swaras. Even though it doesn’t carry the whole characteristics of a kriti, each line begins with the symbols of the Sapthaswaram, Sa, Ri, Ga, Ma, Pa, Dha, and Ni. Hence, it’s known as ‘Sapthaswara Sankeerthanam’. By the efforts of prominent musician, the late Cherthala Gopalan Nair, this composition is gaining attention from musicians and researchers nowadays. He gave notation for this composition with ‘Mayamalava Gaula’ as the parent ragam and composed it as a Ragamalika format.

The lyrics are in the format of ‘Ashtakam’, in which the Pallavi is followed by seven charanas. He composed the pallavi in ‘Saveri’ and concluded with ‘Mayamalava Gaula’. All these 7 ragas are Saveri, Gaula, Jaganmohini, Bouli, Vasanta, Malahari, Vasanta Bhairavi, and Mayamalavagaula. All the concluding lines in each charana end with “Mathangi Jaya Bhagavathi Jaya Jaya.” Cherthala Gopalan Nair will be remembered forever for his great service as a composer and for bringing forth many compositions of Irayimman Thampi, Swathi Thirunal, K.C. Kesava Pillai, and so on. Kuttikunju Thankachy (1820-1908) Kuttikunju Thankachi can be considered the most prominent woman composer of Kerala. She was born in Vilavankod Taluk of the Travancore state, which is in Kanyakumari district at present. A multitalented composer, she handled ‘Kritis’ to ‘Attakatha’ with the same ease and quality. She was the daughter of Irayimman Thampi and wrote a number of musical forms like kirtanas, kshetra kritis, Tiruvatirappattu, Kurattippattu, Thullal, kilippattu, etc. The most respected contribution of hers is the three ‘Attakathas’ named “Sreemathi Swayamvaram,” “Mitrasahamoksham,” and “Parvathy Swayamvaram,” which is a very rare skill for a woman composer to attempt. She is considered the woman pioneer in writing Attakadhas. It is worthy to mention her work ‘Kurathipaattu,’ which is a folk art. “Kiratham” stands as the first of its kind in Malayalam. Another unique work is ‘Vaathilthurapattu’. They are almost similar to ‘padam’. But here the theme has been a bit erotic in the format of conversational folk songs.

Best-known Malayalam Keerthanas by Kuttykunju Thankachi:

1. Paahimohanakrithe – Raga: Khamas, Tala: Rupaka, Deity: Neyyatinkara Srikrishnan

2. Samajahara – Raga: Kalyani, Tala: Adi, Deity: Thiruvattar Adikesavan

3. Anandaroopahare – Raga: Pantuvarali, Tala: Misra Chapu, Deity: Malayinkeezh Srikrishna

4. Karthyayani – Raga: Kamboji, Tala: Adi, Deity: Palkulangara Devi

5. Suryakoti Samaprabha – Raga: Natta, Tala: Chapu, Deity: Mookambika Kollur

6. Sri Pavanapuresha – Raga: Surutti, Tala: Adi, Deity: Guruvayoor Srikrishnan

7. Karunyam Ennod – Raga: Sourashtram, Tala: Chapu, Deity: Srikrishnan Malayankeezh

These kritis are attributed to the particular deities of selected temples. It is interesting to note that the stala mudra in the Sanskrit version can be seen in all these compositions. For example: “Pahimohanakrite” – Khamas – Roopaka – is addressed to Lord Krishna of Neyyattinkara temple near Thiruvananthapuram. In the charana, the stala mudra is given as ‘Ghruta Nadee Teera Nilayanam’, which is the Sanskrit version of the place and means one who is presiding at Neyyattinkara in Thiruvananthapuram. There are many other woman composers such as Kalyanikkutty Ammachi (1839-1909) and Rani Lakshmi Bai (1848-1901) who have contributed to the music of Kerala. Rani Lakshmi Bai composed Kritis and songs for Kaikottikkali. “Ganasaram,” a section of her work namely ‘Sthavamalika’, consists of more than 30 kritis composed by her. The contribution of these female poets and composers to Malayalam, Sanskrit, and Manipravalam languages and on different themes are monumental. They are considered the woman pioneers to compose songs and the pathfinders for the next generations of female composers. These women composers can also be regarded as revolutionary examples in the poetic and cultural scenario of Travancore