What makes Muthuswami Dikshitar’s Ganesha kritis special?

The huge vinayaka sculpture inside the Uchhipillaiyar temple, Rockfort, in Tiruchi.
| Photo Credit: R.M. RAJARATHINAM

The annual Ganesh Chaturthi or Vinayaka Chaturthi, is a grand spectacle that goes beyond religious realms and celebrates unity among people. Adding to the festive spirit is the musical element. Other than devotionals, there are several kritis, composed by the vaggeyakaras, extolling Ganesha. Each one is unique in its own way — lyrics, ragas, intricate swara patterns, and tala.

Rithvik Raja.
| Photo Credit:
K. V. SRINIVASAN

Carnatic vocalist Rithvik Raja shares his favourite five kritis composed by Muthuswami Dikshitar. “The beauty of this selection is that Dikshitar has envisioned these compositions in diverse ways,” he says.

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

Vatapi ganapatim: This composition has grown on me over time, especially after I learnt it from the Sangita Sampradaya Pradarshini. The melodic graph moves through the raga quite spectacularly with intricate jarus and swaraksharas, offering a unique perspective of Hamsadhwani. The indie version of this song is popular too.

Different forms of the deity displayed at the Poompuhar exhibition in Coimbatore.
| Photo Credit:
SIVA SARAVANAN S

Pancha matanga mukha ganapatina: Composed in Malahari, it is a testament to the idea of beauty in simplicity. The raga receives expert treatment and gives us new insights into the possibilities that it offers.

Hastivadanaya: This composition in Navaroj has a distinct gait and texture. Dikshitar has chosen words that match the tempo, thereby coming up with a rare kriti on Ganesha. The raga mudra has been infused into this composition in an unusual way.

This 1971 picture shows a Vinayaka sculpture placed inside a Shiva temple at Tharuvai, located between Tirunelveli and Ambasamudram.
| Photo Credit:
The Hindu Archives

Sri muladhara chakra: Dikshitar has explored Shri raga, in which this composition is set. The manner in which he handles the nishadam is especially notable in this composition. While most Ganesha songs describe his form, this one focuses on the deeper meaning behind it. This is also the only Shri raga exploration by Dikshitar that does not engage the unique ‘PDNP’ phrase.

Mahaganapate palayasumam: This song in raga Natanarayani is close to my heart because this was the one that I first learnt from my guru T.M. Krishna. Though the composition is short, it presents a distinct picture of the raga, and the extent to which it can be expanded.