What makes Muthuswami Dikshitar’s Ganesha works special?

Idol of Lord Ganesha | Photo courtesy: R. Sivaji Rao

The annual Ganesh Chaturthi or Vinayaka Chaturthi, is a grand spectacle that goes beyond its religious confines to celebrate unity among people of different cultures and traditions. This year, it is being celebrated on September 7. The musical element also adds to the festive spirit. Apart from devotionals and bhajans, there are countless kritis composed by the Vaggeyakars, praising Ganesha. Each one is unique in its own way. The lyrical content, the ragas chosen, the intricate tonal patterns, the melody and rhythm make these compositions special. And quite a few of them are marked as favourites in playlists.

Rithvik Raja. | Photo Credit: KV Srinivasan

Young Carnatic singer Rithvik Raja shares his five favourite kritis on God composed by Muthuswami Dikshitar, and explains what makes each of them special.

He says, “The beauty of this selection is that Dikshitar has presented these compositions in varied ways and with great nuances. With great musical insight and lyrical beauty, each of these compositions stands out in its own special way.”

A Tanjore painting of Lord Ganesha. | Photo Credit: The Hindu Archives

Vatapi Ganpatim: This composition has stuck with me over time, especially after learning the Sangeet Sampradaya Pradarshini version. The melodic graph in the raga moves beautifully, with captivating jaarus and swaraksharas that are not seen in the popular pop versions of today. It presents a completely unique perspective of the shamdhwani.

Panch Matang Mukh GanapatinaThis composition in Malahari is a testament to the idea of ​​beauty in simplicity. Malahari is expertly rendered and gives us new insights into the possibilities that exist in this raga.

Hastivadnaya: Like Navroz, this raga too has a distinct movement and texture. Dikshitar has chosen words that match this melodic texture, giving us descriptive lyrics with expressions and experiments that are not often heard in the context of Ganapati. But that is what makes this composition special, the way the sangeeta and sahitya come together to give us a very dynamic, yet complete picture. The way he has incorporated the raga mudras is a special feature here.

Sri Muladhara Chakra: Dikshitar has explored the Sri raga, in which this composition is set, in myriad ways to highlight its beauty. The way he has handled the Nishadam is particularly brilliant in this composition. While most Ganapati compositions are descriptive or literal in nature, this is one of the very few compositions that explore the Vedantic philosophy behind the form of Mahaganapati. It is also the only exploration of Sri raga by Dikshitar that does not incorporate the unique PDNP phrase, which makes it all the more curious and endearing.

Mahaganapate PalayasumamA unique song in Raga Natarajani, this one is very close to my heart, as it is the first song I learnt from my guru TM Krishna. Though the composition is short, it paints a different picture of a raga like Natarajani which still has its own distinct flavour, but it also gives us a suggestion of how much more it can be expanded.

Each of these creations is truly a masterpiece, and gives us unique insights into the myriad forms of Mahaganapati!