Compositions

The concept of a vāggeyakāra (vāk + geyakāra, one who creates both word and song) is central to Carnatic music, as eminent musicians compose both beautiful poetry and melodies at the same time. The concept of nādopasana, or worship through music, is well established in the Indic ethos, beginning first with the sāman chants of the Vedic age (from the kauthuma śākha of which we potentially we get the rāga kharaharapriyā), evolving into the medieval bhakti sāmpradāya composers (such as the Tāḷḷapāka-s, Annamācāryulu and Pĕdatirumalācāryulu, Purandaradāsa, and Bhadrācala Rāmadāsu), and eventually the kr̥ti form in the 18th century.

There is an inexpressible genuineness to expressing myself dually in the languages of my ancestors (tĕlugu and saṁskr̥ta) and the traditional melodies of our homelands. And of course, taking what I've learned about the kr̥ti form and trying to experiment with it myself (including the various components such as the pallavi, anupallavi, caraṇa, ciṭṭa svara-s, madhyamakāla-s, rāgamudra-s and the aṅkita or composer's mudra, tārasthāyi anupallavi-s, etc.) is both a learning exercise and genuine fun. The alaṅkāraśāstra (specifically, prāsa, yati, anuprāsa, śleṣa, etc.) involved in composing sāhitya while trying to preserve and develop the spontaneous nature that it often is for me is a fun ideal to aspire to as well.

Every kr̥ti has the text in the original language and a romanization (conforming to the scheme here) followed by a rough translation and discussion. The compositional mudra (and rāgamudra if applicable) are bolded. Audio will be coming soon!