Vismaya * Wonder * Amazement!

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This recording is a representation of the magical wonderment of the synthesis of two diverse traditions in the most unusual of circumstances 200 years ago.

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The marriage of classical Indian lyrics in Sanskrit with catchy European (primarily Celtic) melodies of the 1700s gave rise to a new genre of music that cannot be classified into any known form. The universal nature of this music makes it as Western as it is Indian and it is neither Indian nor Western at the same time.

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In a profound sense, this genre of music represents the innate ability of Indian culture to be open to ideas from the other parts of the world while integrating them within its ocean of knowledge. This new genre, the Nōŧŧusvarasāhityas, was 19th century India's expression of its premonition of a globalized world of the 21st century – where several cultures would coexist together and share a common future.

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It is with a sense of awe at the wonder that is Indian culture and with a child's wide eyed sense of amazement – vismaya – we humbly present this music collection to the world.

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About Muthusvāmi Dīkshitar (1775 - 1835)

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Muthusvāmi Dīkshitar is a towering personality and one of the foremost composers of Indian Classical music. The music of Dīkshitar is based on a robust foundation of ideas and concepts that had been formalized over the centuries.

Dīkshitar's monumental compositions are unmatched in terms of scholarly worth and musical richness and they can easily be described as brilliant melodic essays which bring out the essence of various Ragas. The compositions of Dīkshitar belong primarily to the Kriti form of music, many of his kriti also exhibit a striking commonality with the structure of the Dhrupad form of classical music from northern India.

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Having lived all over India in places as diverse as Tiruvarur, Manali (near Madras), Varanasi (in North India), Thanjavur and Ettaiyapuram (in the deep South), Dīkshitar is often referred to as the "eternal pilgrim". His compositions are often in praise of kshetras or the places of worship that he visited during his travels.

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Composed in Sanskrit and drawing upon his reservoir of knowledge of ancient Indian scriptures (e.g. Vēdas, Āgamas, Purānas, Itihāsas and Tantras) these compositions address various kshetras, using references to traditions common across India. They are packed with information on the worship traditions, structure and space of each specific kshetra, making each composition an intellectual musical experience.

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The Origin of these Svarasāhityas

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Presented in this two part album are European tunes from the 1700s to which lyrics in sanskrit were written by Dīkshitar (1775-1835).

This unique musical genre of Svarasāhityas, also referred to as the Nōŧŧusvarasāhityas, is the product of perhaps the first ever musical interaction between the East and the West, about 200 years prior to the experiments of the late 20th century.

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What led to this delightful alchemy?

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Dīkshitar lived during the reign of the East India Company in India. While living near modern day Chennai (around the late 1700s) Dīkshitar came in contact with the music played by East India company bands and ensembles. Though the exact nature of the contact is not documented, a key result was the introduction of the western fiddle into the world of Indian music by the composer's brother, Bālusvāmi Dīkshitar.

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Although many reasons are speculated, what led Dīkshitar, a classical composer par excellence to write lyrics, in Sanskrit, to these catchy and playful yet clearly European folk tunes is not known.

However, what is clear is that through these compositions Dīkshitar crosses musical borders and ventures into the territory of adapting Celtic music into the Indian fold. There is no doubt that Dīkshitar, is one of India's greatest musical heroes, a visionary whose music knew no borders.

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Vismaya - The Beginning

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Vismaya represents an expression of my fascination for the Nōŧŧu svarasāhityas genre of music. An appreciation that began in my childhood, hearing three generations of my family, starting with my great grandfather, play similar music on the violin and veena. It also represents a lifetime of curiosity about the origin of Indian band tunes heard during my childhood in the George Town-North Madras area.

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This project is the culmination of a three year effort to research and record the Dīkshitasvarasāhitya compositions with western accompaniments.

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The American School of Indian Art in Cincinnati, OH, has taught the Svarasāhityas to many children of Indian descent (ages 4 to 7) and has seen a marked improvement in their diction of Indian languages.

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The glow of wonder on the faces of children as they hear these lovable compositions for the first time is something that brings me ceaseless inspiration.

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This is a humble salutation to the genius of Dīkshitar, as I attempt to spread this glow of wonderment through this recording. To young children, these Svarasāhityas are a great introduction to the world of Indian music. To infants, they are a set of lilting lullabies. For each one of us, they are a collection of joyful songs that brings to life the

child within.

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The musical notation of the nottusvara sahityas is available in various publications. However, of the 39, the notation of chintaya chitta is not available anywhere. I felt that this compilation would be incomplete without this lone composition and was thrilled to discover that its lyrics fit the melodic contour of one of the English notes from my Great Grandfather's repertoire. 

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Memories of his playing this tune 'pa sa ma ga, ga' along with my grandmother that I listened to, growing up as a child in the 1960s are still fresh in my mind. So we have here, the very first musical rendition of Cintaya citta.

 

Vismaya - Lyrics

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Over a platform of cool tunes that are so accessible to a child, are profound lyrics in classical Sanskrit.

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Classical Indian music is primarily spiritual and much of the lyrical content of ancient Indian music is in the form of stōtra or invocation.

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The plurality inherent in Indian thought gives the individual absolute freedom to invoke their connection to the source in any way, shape or form that they choose. An unabashed pluralist by nature, Dīkshitar's lyrics in his compositions & in the Svarasāhityas are addressed to the divine in various manifestations (Śiva, Śakti, Kŗśna, Skanda among others) on one hand and as the eternal, pure consiousness on the other.

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The composer uses the signature phrase 'guruguha' in all his compositions. The phrase guruguha can refer to the composer himself, or to Skanda as the son of Śiva and Pārvati or to the Guru, the master residing in one's own heart!

The lyrics of the Svarasāhityas are rich in ornamentation such as alliteration. They also fit within the rhythmic contour of the original European folk tunes in a manner that seamlessly brings together two widely different traditions & cultures.

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Kanniks Kannikeswaran

March 2008

Sep 2008