The aradhana (Ceremony of Adoration) is held every year on the anniversary of the demise of the saint. This is on Pushya Bahula Panchami day (the fifth day of the waning moon in the Hindu lunar month of Pushya). The Aradhana is conducted by the Sri Thyagabrahma Mahotsava Sabha and is held in the precincts of the samadhi (memorial) of the saint located at Thiruvaiyaru village, Thanjavur district, Tamil Nadu, India.[8]
The Aradhana in its present format is not even a hundred years old. Thyagaraja died in 1847. A few days before his death, he had formally renounced everything and become a sanyasi. When he passed on, his mortal remains were buried on the banks of the river Kaveri and a small memorial was built at the site. His disciples returned to their respective villages and observed his death anniversary at their own homes. The memorial soon fell into neglect and had become quite dilapidated by 1903, when two of the last surviving students to have been taught by Tyagaraja happened to make a nostalgic visit to the site. These were the elderly and eminent musicians Umayalpuram Krishna Bhagavatar and Sundara Bhagavatar. They were dismayed by the neglect and dilapidation; indeed, they had to search for the memorial in the wild foliage of the riverbank. They arranged for the renovation of the samadhi and decided to commemorate the tithi or death anniversary of their guru every year at the Samadhi itself.
From the following year, efforts were made by musical stalwarts to observe the death anniversary regularly at Thiruvayyaru, and to use the occasion as an opportunity for his followers to converge and interact with each other. In 1905, a lavish ceremony, complete with feeding of the poor and worship at the memorial as per Vedic tenets, was celebrated. While Umayalpuram Krishna Bhagavatar and Sundara Bhagavatar were the moving force behind the renovations and celebrations, the brothers Thillaisthanam Narasimha Bhagavatar and Thillaisthanam Panju Bhagavatar were the main financiers and organizers. By the following year, the brothers had fallen out with each other. From 1906 onwards, each began conducting a parallel Aradhana. Various musicians also began aligned themselves with one or the other brother and two rival factions came into being. The group (and the aradhana celebration) conducted by Narasimha Bhagavatar came to be called the Periya Katchi ("senior party," since he was the elder) and that of Panju Bhat became known as the Chinna Katchi. With the passing of the Tillaisthanam brothers, the Periya Katchi came under the control of the ace violinist Malaikottai Govindasami Pillai, and the Chinna Katchi under that of Soolamangalam Vaidyanatha Bhagavatar, the noted Harikatha exponent. Gradually, a convention emerged whereby the Chinna Katchi's celebrations began five days before the Aradhana and concluded on the Aradhana day, while the Periya Katchi's celebration began on Aradhana day and continued for four days after that. Both groups organised music performances and feeding of the poor and so the public was the real beneficiary during the nine days. On one point, both groups were united. They did not allow women to perform during the Aradhana. In those days, the only women who sang or danced in public were the devadasi or temple performers. Another point in common between the two groups was that they did not permit nadaswaram performances.
Bangalore Nagarathnamma was precisely such a temple performer, and one of the most famous professional concert artistes of her era. Nagarathnamma, who was then residing in Madras, was an ardent devotee of Thyagaraja and an aficionado of his music. Indeed, the soulful rendition of his kritis had been the mainstay of her career throughout her life, and she considered that she owed her considerable wealth to his grace. In 1921, the aged and childless lady decided to dedicate her life's earnings to preserving Thyagaraja's legacy and perpetuating his memory. In 1925, she began the construction of a temple enclosing the memorial. According to some sources, she purchased the land on which the grave stood, whereas according to other sources, that land was panchayat riverside land (village common land), and her construction was illegal, but tolerated by local residents due to its pious intentions. Nagarathnamma also had an idol of Tyagaraja sculpted and installed in front of the memorial. The consecration of the temple took place in early 1926. The two rival groups, while not interfering with all this, refused to let Nagarathnamma perform her music, or even Harikatha, within the temple which she herself had had constructed. They cited several instances from Thyagaraja's songs where he had complained about women in general.
Undeterred, Nagarathnammal began a third front which conducted its own music programs at the rear of the shrine. This third event featured many women artistes, and perhaps for that very reason, it began eating into the public popularity of the events hosted by the two Katchis. The doughty lady also filed suits in the local courts demanding the prevention of the Katchis from entering the temple, claiming that it belonged to her by right. She lost the case, but the hours of worship were laid down by the courts, dividing the Aradhana day equally between the two Katchis and her own group.
Matters continued this way till 1940, when SY Krishnaswami, ICS, convinced the groups to unite and it was in 1941 that the Aradhana as we know it was first conducted. Harikesanallur Muthiah Bhagavatar selected the five pancharatnas as being best suited for group rendering, so that a common homage by all musicians became possible. This idea was adopted and the choral rendition of the five songs was made an integral feature of the Aradhana. Before 1941, the three separate events had all been in the nature of music festivals, with no restriction regarding which of Thyagaraja's songs could be performed. It was only in 1941, when the three events were merged into one, that the convention of group singing of the five pancharatna kritis was decided upon.
Bangalore Nagarathnammal spent the rest of her days in Thiruvayyaru and bequeathed all her wealth to the Thyagaraja memorial, with the stipulation that women be allowed to pay their homage without any hindrance. When she died in 1952, she was buried close to Thyagaraja's memorial and a statue was erected on the spot. The statue directly gazes on Thyagaraja's memorial.
A huge complex is now under construction at Thiruvaiyaru at this site to accommodate the large audience that come to the concert in ever-increasing numbers every year.
2016 – 169th aradhana festival – 24 to 28 January 2016.[19] This year annual aradhana festival organised by Sri Thyagabrahma Mahotsava Sabha commenced at Thiruvaiyaru on Sunday 24 January 2016. Inaugurating the festival, ‘Nalli’ Kuppuswami Chetti, president of Sri Krishna Gana Sabha, paid rich tributes to Bangalore Nagarathnamma Ammal who was instrumental in setting up the ‘adhishtanam’ for Sadguru Tyagabrahmmam. Collector N. Subbaiyan said music played a crucial role in promoting universal peace and harmony. G. Rangasamy Moopanar, president of the Sabha, and G.K. Vasan, chairman of the trust, spoke.[20]
2015 – 168th aradhana festival – 6 to 10 January 2015.[21] The inauguration of the festival at Thiruvaiyaru was inaugurated on 6 January 2015 by Justice V. Ramasubramanian, Madras High Court judge, by lighting lamp. Sri Thyagabrahma Mahotsava Sabha chairman G.K. Vasan and sabha president G. Rangasamy Moopanar accompanied him[22]
Performance on the 168th aradhana Festival at Thiruvaiyaru in 2015
In the small pearl of the Indian Ocean, Mauritius Island, Thyagaraja Aradhana is celebrated with great devotion by the Vyasha Dhalia Ashram.[citation needed] Abhishekam is done for Shri Rama in the morning and followed by the Kritis of Tyagaraja Swami accompanied by instruments such as mridangam, morsing, ghatam, khanjira, veena, violin and the flute.
Nigeria
In Lagos, Nigeria, from the year 2007 every February, Thyagaraja Aradhana is being celebrated devotionally by Chinmaya Mission.[citation needed] Children trained by experienced Gurus along with music instruments rendering sampradaya kirthanas of the compositions of Saint Tyagaraja in this function.
United Kingdom
In the United Kingdom there are various aradhanes. Thyagaraja Aradhana Festival UK - Londonil Thiruvaiyaru is organised and run by a committee in conjunction with Sri Duraiswamy music school run by Sri.Durai Balasubramanian, who was a former lecturer at Tamil Nadu Government music college. Many students from all over London perform Tygaraja krithis. The 8th aradhane took place on the 23.2.20. Artists Sriram Ganghadharan, Sri.R. Suryaprakash and Sri Rithvik Raja accompanied many senior artists of the UK.
France
Paris Thyagaraja Aradhana
Annually, in the month of May, "Paris Thyagaraja Aradhana", a global event, is organized by Indian Conservatory of Paris (), in the heart of Paris, France. It attracts Carnatic musicians, artists, connoisseurs and music lovers from across the globe, across various nationalities, backgrounds and ethnicities to sing the compositions of Saint Tyagaraja. It is important to note that this event has received High Patronage from the Embassy of India in France, consecutively for last several years.
ICParis() founded by Vid. Smt. Bhavana Pradyumna (here) and Sri. Pradyumna Kandadai works to strengthen cultural ties between India and France. With the main objective to promote Unity while celebrating diversity, ICParis has created multiple platforms through concert, performances, classes and workshops through esteemed artists and legends in Indian classical music, dance, scriptures and Yoga
Sadguru Tyagaraja Swami, also known as Tyagayya, and in full as Kakarla Tyagabrahmam, was a saint composer and of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Tyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Rama, many of which remain popular today. However, only 720 of these are in vogue. Of special mention are five of his compositions called the Pancharatna Kritis, which are often sung in programs in his honour. Tyagaraja composed Utsava Sampradaya Krithis, which are often sung to accompany temple rituals and Divya Nama Sankeertanas which are sung as a part of concerts and in daily life.
The Pancharatna kritis are a set of five kritis (songs) in Carnatic classical music, composed by the 18th-century Indian composer Tyagaraja. All the kritis, as is the case with almost all of Tyagaraja's compositions, are penned in Telugu. The songs are: "Jagadananda karaka", "Dudukugala Nanne", "Sadhinchene", "Kanakana Ruchira" and "Endaro Mahanubhavulu".
Muthuswami Dikshitar (Mudduswamy Dikshitar) (IAST: muttusvāmi dīkṣitar, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer and veena player, and a composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1776 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state.
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