1 Raga SaraswatimanOhari: enta vEDukondu rAghavA
2 Raga Vardhani: Manasa Mana
3 Raga Devamruthavarshini: Evarani
4 Raga Vachaspati: kaNTa jUDumi
5 Raga Manjari: Patti viduva
6 Raga Kaapinarayani: Sarasasamadana
Vina: Dr R S Jayalakshmi & Charulatha Chandrasekar
Mridangam: Kalaimamani Sri TR Sundaresan >>
Live lecture-recital at Arkay Convention Center (Chennai) on 17 October 2025 organized by Madhuradhwani
*Ekaika kriti raga refers to a “single song raga” though additional songs or kritis may, of course, have been added later on. In 1996 senior musicologist and Padma Shri awardee SR Janakiraman presented a conference paper at the Music Academy Madras wherein he stressed the importance of “Ekaika krti ragas” by Tyagaraja for later composers including Pattanam Subrahmanya Ayyar (cf. “Glossary-cum-Index”, The Oxford Illustrated Companion to South Indian Classical Music).
What is it that makes Tyagaraja unique? What do we know of Tyagaraja?
Musically speaking, South India can be clearly divided into pre-and post-Tyagaraja phases. In this context it would perhaps be more accurate to include Syama Sastri and Muthuswami Dikshitar and attribute the sweeping changes to the entire Trinity. But with Tyagaraja’s output being the highest of the three, the most popular and wide-ranging in themes, he perhaps bore the largest burden in effecting the transformation.
What is it that makes Tyagaraja unique?
We owe much of the joy we experience in Carnatic music to him. His songs stand alone in lending themselves to multiple sangatis, plenty of niraval and swaras.
Source: “What makes Tyagarajs kritis unique? – Madras Heritage and Carnatic Music” by Sriram V. (Date Visited: 13 May 2026) | Learn more: “What do we know of Tyagaraja? – Madras Heritage and Carnatic Music“