Pancharatna Kritis Lyrics Pdf Download
Carmel Kittell
On pushya bahula panchami, the anniversary of the day that Saint Thyagaraja attained Samadhi, a group singing of the Pancharatna Kritis at Thiruvaiyaru is traditionally observed. Vocalists, instrumentalists and rasikas from all over the world gather at Thiruvaiyaru on the banks of the Kaveri and take part in the Aradhana celebration.
To ensure that everyone can sing together, we have provided a recording of the utsava sampradaya kritis and the ghana raga pancharatna kritis. If you would like to join the group in their rendition, please follow along the style of the recording provided here. If you would like to join the group practices please contact sruti...@gmail.com. The videos linked here are in the public domain and provided as a courtesy to the participants.
The Pancharatna kritis are written in praise of the Hindu deity Rama They are set to Adi Tala and each raga represents the mood of the song and the meaning of its lyrics All the kritis are composed in the style of a Ragam Tanam Pallavi(RTP) with the charanams (stanzas) substituting for the kalpana swaras (improvisatory passages) in the pallavi section of the RTP The melodic forms of these compositions (Nata Goula Arabhi Varali Sri) are the five Ghana ragas of Carnatic music also called the ghanapanchaka These 5 ragas lend themselves to elaborate improvisations [ They are so called because they are suited to playing tanam on the veena Nata and Varali are the most ancient of the Carnatic ragas and date back to over a thousand years ago A particularly difficult musical challenge has been taken up successfully by Tyagaraja in three of these compositions The raga Naata has a particularly distinctive use of the dhaivatam note or swara(A in the C scale of Western classical notes) Tyagaraja has avoided the dhaivatam completely in the first Pancharatna Kriti without losing the swarupa or character of the ragam Similarly gandharam is an accidental note of some beauty in Goula (E in the C scale) Tyagaraja avoids this too except in one instance without losing the character of the ragam Finally he avoids the accidental dhaivatam in Sri ragam again a note that is present in some very characteristic sancharas (phrases) of this ragam
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