Radiance in Raga — Exploring Raga Poorvi Kalyani, Gnanamosagarada by Sri Tyagaraja Swami
Welcome to another topic in the series exploring the Radiance of a Raga. Now, I will be exploring Raga Poorvi Kalyani.
Poorvi Kalyani is a pleasant and melodious raga in Carnatic music. It is a janya raga derived from a parent raga, in this case, the 53rd Melakarta raga, Gamanashrama.
Poorvi Kalyani is known for its emotive quality and is often associated with bhakti (devotion) and karuna (compassion). The raga evokes a sense of devotion and compassion, making it suitable for compositions with a devotional theme.
It employs vivid and elaborate gamakas (ornamentations), enhancing its emotive quality.
Purivikalyani is a janya raga from the 53rd mELakarta gamanashrama. It is a Vakra Shadava sampurna raga, i.e. it has six notes on the ascent and seven notes on the descent.
Raga Poorvikalyani
Janyam of 53rd mela Gamanashrama Alias: purvikalyani
Arohanam: S R1 G3 M2 P D2 P S
Avarohanam: S N3 D2 P M2 G3 R1 S
(Suddha rishabham, anthara gandharam, prathi madhyamam, chathusruthi dhaivatham, Kakali nishadham)
Many compositions in Carnatic music are set to Poorvi Kalyani, including kritis by Tyagaraja, Muthuswami Dikshita (Meenakshi Memudam of Sri. Muthuswami Dikshithar), and other composers. These compositions often explore themes of love, devotion, and the beauty of nature, reflecting the raga’s emotive capacity.
Another song I can think of from my repertoire is Thiruppavai Pasuram 27, koodarai vellum seer Govinda.
Thiruppavai Pasuram 27, Koodarai vellum, Purvikalyani in Misra Chapu Tala.
Poorvi Kalyani is versatile and used in various compositions ranging from varnams and kritis to tillanas. It is a favourite for concerts due to its rich, emotive potential and the depth it offers for alapana (improvisation).
It is basically an evening raaga, often performed in concerts.
Traditionally, ragas have specific times of the day when they are considered most appropriate. Despite being a raga that can be rendered at all times, rasikas know that the effect is profound when this raga is rendered just after sunset.
The raga is said to calm mind and reduce Anxiety and Abdominal pain. Also said to promote harmony, serenity and bring a pleasant feeling.
Poorvi Kalyani does not have a strict time association but is often performed in the evening or night concerts, capitalizing on its serene and soothing qualities.
Understanding and appreciating Poorvi Kalyani requires listening to performances by various artists, as each brings their unique interpretation and emotional depth to the raga.
Now let us explore “Gnanamosaga Rada”, a renowned composition by Saint Tyagaraja, one of the trinity composers of Carnatic music. This kriti (a type of composition) is set in the raga Poorvi Kalyani, which, as mentioned earlier, is known for its emotive depth and devotional intensity. Tyagaraja’s compositions often revolve around his love and devotion for Lord Rama; through them, he expresses philosophical inquiries, personal anguish, and his yearning for spiritual liberation.
The central theme of “Gnanamosaga Rada” revolves around the concepts of jnana (wisdom or knowledge) and bhakti (devotion). Tyagaraja, in this composition, questions the efficacy of mere ritualistic practices and the accumulation of material wealth without the accompanying inner wisdom and faith towards God.
The lyrics plea for the grace of Lord Rama for the true knowledge that leads to the ultimate liberation (moksha). Tyagaraja emphasizes that worldly knowledge and material gains are futile without devotion and understanding of the divine.
“The composition is structured traditionally with Pallavi (the refrain), anupallavi (the verse following the Pallavi), and Charanams (the concluding verses). Each section of the kriti elaborates musically and philosophically on the theme.
Through the raga Poorvi Kalyani, Tyagaraja explores the nuances of devotion and wisdom, using musical phrases to accentuate the plea for divine guidance and grace.
“Gnanamosaga Rada” reflects Tyagaraja’s deep philosophical inquiry into the nature of human existence, the pursuit of knowledge, and the role of divine grace in attaining enlightenment.
The kriti questions the value of earthly knowledge and material wealth without spiritual wisdom. It suggests that valid knowledge (jnana) is realizing the impermanence of the world and the importance of devotion (bhakti) towards God.
This kriti is a staple in Carnatic music concerts, beloved by both artists and audiences for its profound message and the emotive richness of the raga.
Performers often use this piece to showcase their ability to interpret Tyagaraja’s devotional intensity and to explore the depth of Poorvi Kalyani through elaborate alapanas (improvisations), neraval (improvisation of a line within the kriti), and swarakalpana (improvisation of musical notes).
Beyond its musical beauty, “Gnanamosaga Rada” is revered in Carnatic music for its spiritual teachings. It serves as a reminder of the importance of integrating spiritual wisdom with everyday life.
It highlights Tyagaraja’s bhakti-filled approach to music, where devotion and the pursuit of divine knowledge are seen as paths to liberation.
In summary, “Gnanamosaga Rada” is not just a musical composition but a spiritual discourse set to the sublime notes of Poorvi Kalyani. It beautifully encapsulates Tyagaraja’s philosophical musings, devotion to Lord Rama, and insights into pursuing proper knowledge and devotion.
“As we conclude our journey through the profound depths of ‘Gnanamosagarada,’ a gem crafted by the saint composer Tyagaraja, let us carry the essence of this kriti — a quest for true knowledge and divine grace.
May the wisdom and devotion in this timeless composition inspire us to seek the eternal truths beyond the ephemeral world, guiding our souls towards the ultimate union with the divine.
Thank you for joining me in exploring one of Carnatic music’s most revered treasures. Until next time, let the spirit of ‘Gnanamosagarada’ resonate within our hearts, reminding us of the beauty and sanctity of our spiritual pursuits.”
