CHENNAI: He is the father of Carnatic Music, saint, philosopher and teacher. He revolutionised the teaching and practice of music, and laid the firm foundation for Carnatic Music. Purandarasa’s work was completed by Thyagaraja, two centuries later.
It is said that the pre-ponderance of ‘arbitrary music’ over art music, in those days, had Purandaradasa’s songs, as models to emulate and improve upon. Thyagaraja himself, acknowledges his indebtedness to Purandaradasa in an introductory verse of his Prahalada Bhakthi Vijayam.
He unequivocally affirmed that the path of over-sophisticated music, which was bereft of genuine refinement and ‘devotion to god’, is not the right path in Kelano Hari Talano. Thyagaraja echoed the same sentiment in Sangeetha gnanamu Bhakthivina — music without devotion is not the right path.
Throughout the vast repertoire of Thyagaraja songs, we find his echoes, not only in verses, but also in musical thought. Purandaradasa systemised the practice of art and science of music in the South and bequeathed us with soul stiring keerthanas, also known as Dasarpada of classical beauty and charm. His song presented to us the distilled essence of raagas.
Purandaradasa’s mother tongue was Kannada and it was in that language, he sang almost all his songs. Their greatness however, transcended the barriers of language, and they were popular in Hindusthai style of music also. Even today, there are Haridasas, who sing some of his songs in Hindusthani raagas, with the full import of bhava.
Undoubtedly, Purandaradasa is the most outstanding, among Haridasa, Daasakoota of Karnataka. There were others before him and after him. They were all dedicated souls, who worked for the preservation of culture and spirituality, in troubled times. The keerthana forms, which he employed with it is clear: pallavi, anu pallavi and charanam, provided the basics for later composers, like the musical trinity, in whose hands, it developed into a kriti form.
Purandaradasa introduced the Malavagaula scale. The flood of keerthanas with which he inundated the whole of South, going from place to place, singing and dancing in ecstasy, propagated not only rakthi (another name for raaga), but also Bhakthi, which is an expression of spirituality. His melodies and rhythms, may appear simple but it is the simplicity of great art. No doubt, his compositions are examples of a perfect synthesis of bhaava, raaga and taala.
It is imperative that we try to tread the path shown by him at least in the spirit of our approach to music. Let us all remember that he gave us raagas, taalas and also the direct methods of teaching music. Above all he gave us Thyagaraja.