Muthuswami Dikshitar

South Indian poet, singer, veena musician, and famed composer of Indian classical music Muthuswami Dikshitar (Mudduswamy Dikshitar) (24 March 1776 - 21 October 1835), also known by his pen name Dikshitar[a], is regarded as one of the musical trinity of Carnatic music. In what is now the Indian state of Tamil Nadu, Muthuswami Dikshitar was born on March 24, 1775, in Tiruvarur, close to Thanjavur, to a family that can be traditionally traced back to Virinchipuram on the state's northern borders. Around 500 of his works are generally recognised, and they are renowned for their intricate and poetic depictions of Hindu deities and temples as well as for capturing the spirit of the raga forms through the vainika (veena) style that emphasises gamakas.

He is also known by his signature name of Guruguha which is also his mudra (and can be found in each of his songs). His compositions are widely sung and played in classical Carnatic music. The musical trinity consists of Dikshitar, Tyagaraja, and Syama Sastri.

Family of Muthuswami Dikshitar 

Ventakeshwara Dikshitar, the grandfather of Muthuswami Dikshitar lived in Virinchipuram in Tamil Nadu along with his wife Bhagirathi. A son was born to them in 1735 AD and he was named Ramaswami. The family relocated to Govindapuram village near Tiruvidaimarudur. Ramaswami Dikshitar learned music under Veerabhadrayya at Thanjavur. Ramaswami Dikshitar also learned music science as propounded by Venkatamakhi from Venkata Vaidyanatha Dikshitar. This included knowledge of the 72 Melas and the Janya Ragas. Ramaswami Dikshitar settled down at Tiruvarur and gave concerts. He created Hamsadhwani Raga. He was also a notable composer. Several kritis, Varnams , Darus, Kirtanas and Ragamalikas are attributed to Ramaswami Dikshitar. Ramaswami Dikshitar did not have children. He was Srividya upasaka. His guru was Chidamabaranatha Swami. Ramaswami Dikshitar worshipped Balambika of Vaitheeswaran Koil through Mandala Puja for 40 days for begetting a child. On the last day, Devi appeared in his dream and presented him with Muktaharam (garland of pearls) as if she had answered his prayers. Ramaswami Dikshitar's wife Subbammal soon conceived and gave birth to a son on 24, March 1775 when the Vasantotsava was being celebrated at Sri Tyagarajaswami Temple. He was named Muthukumaraswami after lord Murugan of Vaitheeswaran Koil Temple. The name also stood for Muktadhara which Devi gave in the dream. Muthu in Tamil means pearl. Muthukumaraswami later became Muthuswami. Muthuswami Dikshitar had two brothers- Chinnaswami and Baluswami. He also had one sister, Balambika.

Marriage of Family of Muthuswami Dikshitar 

When he was still a student at Tiruvarur, Muthuswami Dikshitar got married. He had two wives as was common practice those days. Dikshitar led a life as a Yogi and travelled to holy places most of the time. He visited many temples and composed songs praising the gods and goddesses there. He had one daughter.

Compositions of Muthuswami Dikshitar

He wrote between 450 and 500 works in all, the majority of which are still performed often at Carnatic music concerts today. The majority of his works are in Sanskrit and take the form of poetry set to music known as Krithi. Throughout his life, Muthuswami Dikshitar visited numerous holy sites and wrote krithis on the gods and temples he encountered. Dikshitar is regarded as having written on the broadest variety of deities of any composer.

His compositions are all distinctive and expertly made. His conceptions of several of the ragas remain the last word on their structure, and the compositions are renowned for the depth and soulfulness of the melody.

Many kritis were written by Muthuswami Dikshitar in groups. His best-known piece is considered to be Vatapi Ganapatim. Although Muthuswami smoothly incorporates Advaita theory into his songs, which resolve the fundamental conflict between Advaita philosophy and polytheistic devotion, his Sanskrit lyrics extol the temple deity. His songs also preserve many of the traditions practised in these ancient shrines by providing extensive information about the temple's history and background. His words are expertly rhymed, which is another distinguishing aspect of his songs.

In his Asampurna Mela scheme, Muthuswami also took on the task of creating music in each of the 72 Melakarta ragas, giving many extinct and lost ragas a musical example.

Additionally, he was the first to create samashti charanam krithis (songs in which the main stanza or pallavi is followed by just one stanza, as opposed to the traditional format for songs).

Dikshitar was a tala master and the only composer to have compositions in each of the seven fundamental talas used in the Carnatic system. With compositions in all eight declensions, Dikshitar demonstrates his proficiency in Sanskrit.

The songs of Dikshitar are unparalleled in terms of raga bhava richness, the sublimeness of their philosophical themes, and the grandeur of the sahitya.

Death and Legacy of Muthuswami Dikshitar

On October 21, 1835, Muthuswami Dikshitar passed away in Ettayapuram. He wasn't a father. At Ettayapuram, a samadhi built in his honour draws musicians and fans of his work.

Chinnaswami (1778–ca. 1823) and Balaswami Dikshitar (1786–1858), brothers of Muthuswami Dikshitar, were also well-known musicians. While Balaswami pioneered the use of the Western violin in Carnatic music, Chinnaswami wrote a few kritis. The two of them primarily performed as a vocal pair, singing the songs that Muthuswami had written. Subbarama Dikshitar, a composer and academic, was Balaswami's grandson (1839–1906). Muthuswami Dikshitar wrote 229 kritis, which Subbarama mentions in his Sangeeta Sampradaya Pradarshini.

Several well-known artists who continued on Dikshitar's heritage were among his followers. These musicians included the Ponnayya Pillai, Vadivelu, Chinnayya, and Sivanandam brothers of the Tanjore quartet, the veena player Venkatarama Ayyar of Avudayarkoil, the mridangam player Tambiyappa, the Kornad Ramaswamy, the Tirukkadeyur Bharati, the Thevvoor Subrahmania Ayyar,

Along with his two Tiruvarur-based contemporaries, Tyagaraja and Shyama Shastri, Dikshitar is regarded as one of the Trinity of Carnatic music because of the originality and spiritual significance ingrained in his compositions.