Tyagaraja laments squandering the rare gift of human birth on the pursuit of comfort, fame, and other mundane objects, instead of striving for Supreme Bliss. With poignant self-reproach, he regrets that no princeling can now restore the lifetime he has lost.

In this lesser-known kriti on the same theme as Dwaitamu Sukhama, Tyagaraja contemplates the spiritual seeker’s dilemma, navigating the complexities of life’s many philosophies. Dive into this rare gem on the universal quest for truth.

In the plaintive raga Subhapantuvarali, Tyagaraja cries out his deep anguish at Rama’s neglect. He contrasts this with instances where Rama fulfilled His duties as a protector, caring for devotees and subjects with compassion.

In this kriti, Tyagaraja reflects on his past with a heavy heart, fearing he may have sinned beyond redemption. Witness the saint’s self-deprecating tone as he goes into the shadows of his own history.

Dikshitar, an avid pilgrim, journeyed across the country, visiting sacred sites and immortalizing the iconography of deities in his compositions. This kriti celebrates the revered Sharada of Kashmir, a tribute made even more poignant today, as the shrine lies in ruins and remains inaccessible to Indians.

Tyagaraja revels in the joy of beholding Rama, whose radiant form grows sweeter with every gaze. With poetic imagery, he describes Rama’s divine beauty and boundless grace. Overflowing with love and reverence, this song is a testament to the irresistible allure of the Lord’s presence.

This Varnam stands out as a rare instance of nara stuti, celebrating Serfoji II, the King of Thanjavur. It honors the king’s patronage but also reflects the deep cultural ties between royalty and the arts. A unique tribute in the Carnatic repertoire.

Like the famous sloka Kausalya Supraja, Tyagaraja, here, gently calls upon Rama to awaken, reminding him that celestial beings and sages await his divine presence. This beautifully composed piece resonates with devotion and reverence.

Here, Tyagaraja exalts Siva as the essence of the best among the Vedas. But which of the four does Tyagaraja consider the best?

In this heartfelt song, Tyagaraja reveals how it all began—how Rama captured his heart and made him a devoted follower early in life.

Tyagaraja ponders the inevitability of destiny, seeing that what is not fated cannot manifest, regardless of status or power. Ultimately, the saint turns to Sri Rama, the eternal refuge, seeking solace in the sacred.

Tyagaraja humbly confesses his lack of expertise in the prescribed rituals or Vedic study. Instead, he clings to the simplicity of singing Rama’s virtues, believing that this devotion might draw the Lord’s presence.

In this kriti, Tyagaraja warns against mere mechanical repetition in Nama Smarana. He emphasizes that this profound spiritual practice must be infused with devotion and a focused contemplation of the deity to truly bear its fruits.

In this kriti, Tyagaraja rebukes the mind for treading on ruinous paths that lead nowhere. He reveals the straight road to divine grace.

Tyagaraja opens the musical drama Prahlada Bhakti Vijayam with the auspicious Lord Ganesha dancing to the lively strains of raga Saurashtra and spirited beats that go “Dhit-talangu”!