Pancharatna Kritis in Carnatic Music

The Pancharatna Kritis is a set of five Kritis in Carnatic Classical music that were composed by Tyagaraja who was a Carnatic Music composer of the 18th century. The term Pancharatna means five gems. Tyagaraja composed these Pancharatna Kritis towards the praise of Lord Rama.Thus, these Pancharatna Kritis are the five gems of Carnatic Music. The first Kriti is composed in the Sanskrit language whereas the others are composed in the Telugu language.These Pancharatna Kritis are actually set to music in five ragas which are Nata, Gaula, Arabhi, Varali and Sri. These five ragas are also called Ganapanchakas.No essence of any of the ragas has been lost.The five ragas also lend themselves to elaborate improvisations as well. These ragas are also suited for playing tanam on the veena. All these kritis are set to Adi Tala. 

The Pancharatna Kritis are:

JAGADANANDA KARAKA

This  is the only Pancharatna Kriti that is composed in the Sanskrit language. Tyagaraja has praised Lord Ramachandra in this song.He also considers Lord Ramachandra to be the cause of all bliss in the universe. Lord Ramachandra is actually one of the incarnations of Lord Vishnu. This Kriti is believed to have been used in the court of the Maratha King  Sarabhoji who was a ruler of the 18th century. This Kriti has been composed in the Nata Raga which is considered to be one of the most ancient ragas in Carnatic Music that dates back approximately to over a thousand years.

DUDUKUGALA  NANNE 

This is the second Pancharatna Kriti and it is composed in the Telugu language. In this Kriti Tyagaraja mentions all the errors that he has committed in his life and then says that no one but only Rama would redeem a sinner like him. Some of the sins that he has described here are wandering around as though he is satisfied with a full meal, giving sermons to people who are actually not interested in listening to it or to people who are actually to incompetent to understand it, self-styling oneself as a great person and mistaking the dross for the real thing.He also has listed four categories of people to whom he has made the claim of greatness the ignorant, the riff- raff, the low social folk and also women. He has also reproached people who desire wives and also progeny. This Kriti has been composed in the Goula Raga.

SADHINCHANE

This is the third Pancharatna Kriti which is also composed in the Telugu language. The Kriti has been composed in Arabhi Raga. This Kriti has been carved out in a language that is full of liberty, which has a teasing tone, has metaphors and also similes without having excess of adjectives. All of this has arrested the attention of the singers. In this Kriti, Tyagaraja has spoken about the greatness of Lord Krishna very enthusiastically  and also in such a way that everyone can understand it. Tyagaraja has adopted a very sweet style of expressing his thoughts in this Kriti as compared to other kritis.

KANAKANARUCHIRA

This is the fourth Pancharatna Kriti which is also composed in the Telugu language. It is also the least sung or played kriti. However it is still considered to be haunting and beautiful as well. This Kriti talks about the story of Dhriva and it also draws analogies to the Ramayana.This composition also describes the divine beauty of Sri Rama. Tyagaraja says that the more he looks at Lord Rama the more his mind gets attracted towards him. The composition is rarely taught and it is also rarely heard at concerts. This composition is set in the Varali Raga. The Varali Raga is also considered to be one of the most ancient Carnatic Ragas and it dates back to approximately over a thousand years ago.

ENDARO MAHUNUBHAVULU

This is the fifth Pancharatna Kriti and it is composed in the Telugu language. It is believed that Tyagaraja composed this song at a young age.Tyagaraja composed this song after he saw the great Shadkala Govinda Mara perform.Tyagaraja has also described the greatness of devotees through the ages. This song is also a dedication to all the great maestros and performers. Tyagaraja has also clearly described and listed the Mahanubhavulu and has also mentioned about the saints Narada and Saunaka as well. This composition is set to the Sri Raga.

While composing three of these Kritis, Tyagaraja took up a particularly difficult musical challenge. In the raga Nata there is a particularly distinctive use of the dhaivatam note or swara. In the first Pancharatna Kriti, Tyagaraja has avoided the use of the dhaivatam without actually losing the swarupa or character of the raga. Gandharam is also an accidental note in Raga Goula. Tyagaraja has also avoided the use of the Gandharam except once where again the character of the raga was not lost. He has also avoided the accidental dhaivatam in the Sri Raga which again is a note that is present in some characteristic sancharas of this raga.

PANCHARATNA KRITIS IN RECENT TIMES

The Hyderabad Tyagaraja Aradhana Music Festival had its  third edition in 2018. The highlight of this festival was the Pancharatna Brindaganam which was basically a group rendition by 300 musicians and also live painting for Pancharatna Kritis by a famous artist Sri Kuchi. The Foundation that organised this conducted weekly workshops so that many people could participate in this and also so that people could appreciate these Pancharatna Kritis a lot more. In these workshops a Kriti was discussed each week in order to actually understand what Tyagaraja wanted to communicate and also to correct the pronunciation of words.

There are many people who have also tried to bring the kritis closer to the modern world. Some of the names of the great Indian Classical vocalists  who are responsible for bringing the kritis closer to the modern world are M.S. Subbulakshmi, Maharajapuram Santhanam, Mangalampalli Balamuralikrishna,etc.

Thus, truly these Pancharatna Kritis are the five gems of Carnatic Music.