It is really the personalities who shape history. It would be no exaggeration to state that Carnatic music represents the cumulative brilliance and wisdom of geniuses over several centuries. Each personality needs volumes, but for obvious reasons, only a passing reference has been made here.
Bharata [Placed between 4th century BC and 2nd century AD] : One of the earliest eminent musicologists of the world, Bharata, was the author of Natya Shastra, which is a storehouse of information on the music of those times.
Jayadeva [12th century] : Composed what several experts believe to have been the first opera in Indian music, the Gita Govindam. Jayadeva was an inspiration to several latter-day composers like Oottukkadu Venkata Kavi, who calls him ‘kaviraja’ (king among poets) in his krti Padmavati ramanam.
Sarangadeva [13th century] : An exceptional musicologist wlio authored Sangita Ratnakara, which closely followed the Natya Shastra in several areas, and also served as another main source of reference for latter-day musicologists.
Annamacharya [1408-1503] : Annamacharya is credited with having improved musical forms by introducing the sections pallavi, anupallavi and charanam. About 12,000 of his pieces are still available intact, engraved in copper plates, and scores of these have been set to tune by eminent musicians in the 20th century.
Purandara Dasa [1484-1564] : Money-lender-turned-master-musician. Acknowledged as the father of Carnatic music because he systematised the basics and standardised the procedures for teaching music, followed even today. Though there are claims that he composed an astonishing 4,75,000 songs, less than a thousand are available now.
Arunagirinatha [15th century] : Composed over 16,000 pieces, known collectively as tiruppugazh, in uniquely interesting meters, which necessitated an equally singular set of talas.
Kshetragna [17th century] : Foremost composer of the musical form, padam. His compositions are noteworthy for multi-dimensional portrayal of romantic sentiments.
Venkatamakhi [1635-60] : Brilliant musicologist who authored Chaturdandi Prakashika. Venkatamakhi is also credited as a pillar of the 72-parent scales (melakartas) scheme. However, a few musicologists hold that there was another Muddu Venkatamakhi who contributed much to the 72-melakarta scheme, and that this was further refined by Govindacharya.
Oottukkadu Venkata Kavi [1700-65] : One of the most remarkable composers in Indian music, he possessed a deep knowledge of music, dance, mythology, epics and literature. His prolific creations in Tamil and Sanskrit have come to light only in recent times and are fasr gaining popularity. He employed a variety of musical forms such as the krti, javali, tillana and kavadichindu. He used talas and themes that few other Carnatic composers have used before or since, and also composed group compositions such as Navavamna krtis and Saptaratna krtis. Several of his compositions on great people before his times, such as Vande Valmiki kokilam (on Valmiki), Padmavati ramanam (on Jayadeva), Nee sheida upakaram (on Vyasa), Arum iyalada tavamana (on Shuka), Tale sharanam amma (on Andal) are of historic significance.
The Trinity : Tyagaraja, Muttuswami Dikshitar and Shyama Shastri are acclaimed as the Trinity of Carnatic music, not merely because they were contemporaries hailing from the same town (Tiruvarur). They composed hundreds of high-quality compositions in distinct styles, thereby taking the system to new heights of refinement and popularity.
Tyagaraja [1767-1847]: Hailed as one of the all-time greats in Indian music, Tyagaraja is believed to have composed about 24,000 songs, but the available repertoire does not exceed 700. However, these are more than sufficient proof of his multi-dimensional command over music. His compositions range from simple, catchy tunes to complex melodies, and the depth of content only equals his lyrical flow. He remains the most popular composer among performers as well as teachers, chiefly because his works have both emotive and intellectual allure, and are highly suited for concerts as well as classes. Among listeners, his appeal lies in the fact that his themes, while rich in variety, are often down to earth, and most people can relate to them. One of the most remarkable features about his works is that he could make simple scales appear like great ragas and immortalise them, and also make grand ragas appear deceptively simple through his pieces. He took the concept of melodic variations (sangatis) to unprecedented heights. Another reason for his pre-eminent stature is that he was able to inspire scores of disciples, creating a musical lineage extending over several generations.
Muttuswami Dikshitar [1776-1835]: One of the most complete musicians of his times, Muttuswami Dikshitar is highly respected as a meticulous composer. His works are a blend of organized lyrics, majestic melody and grand themes, like the Navagraha, Navavarana and Panchalinga kshetra krtis. His astonishing intelligence and scholarship are revealed in the manner in which he was able to incorporate the name of the raga in several of his compositions. He visited different parts of the country, made a study of different cultures and incorporated the best aspects from those in his works. His creations reveal the impact of Hindustani and Western music on him. His sophisticated style demands a lot from both the performer and the listener.
Shyama Shastri [1762-1827]: Shyama Shastri stands unparalleled when it comes to sublime, intense, child-like appeal for divine protection. As one becomes more familiar with his works, one notices that Shyama Shastri has concealed more than he has revealed. The high-class mixture of the melodic, rhythmic and lyrical aspects make him an indisputable master.
Swati Tirunal [1813-47]: A very versatile royal composer, who was also a great patron of arts. Swati Tirunal composed in several languages including Sanskrit, Malayalam, Telugu, Hindi and Kannada. His compositions were subsequently popularised by stalwarts like Muttaiah Bhagavatar and Semmangudi Srinivasa Iyer.
Papanasam Sivan [1890-1973]: One of the most respected musicians and composers of modern times. He composed numerous pieces in lilting Tamil and fluent Sanskrit, some of them in tunes of other composers like Tyagaraja. He also scored music for several films.
Other Composers : Great seers like Sadashiva Brahmendra, Narayana Teertha and composers such as Anai Ayya, Bhadrachala Ramadas, Arunachala Kavi, Gopalakrishna Bharati, Muttuttandavar, theTanjore Quartet, Veena Kuppaier, Mysore Sadashiva Rao, Patnam Subramanya Iyer, Poochi Srinivasa Iyengar, Mysore Vasudevachar, Maha Vaidyanatha Iyer and Ramaswami Sivan have added significantly to the Carnatic repertoire.
Carnatic music has become richer thanks to the likes of Raghunatha Naik (1600-30), who contributed to the near perfection of the 24-fretted veena, Baluswami Dikshitar (1786-1859), who introduced the violin in south Indian music, and Sakha Rama Rao (19th-20th century), who re-introduced the chitravina (giving it the name Gotuvadyam) to the concert scene.
Great Musicians : The galaxy of great Carnatic musicians of recent times includes many stalwarts. Among male vocalists from the early part of the century, the names of Ariyakkudi Ramanuja Iyengar, who established the modern concert format, Kanchipuram Naina Pillai, who was regarded as a master of rhythmic intricacies, ‘Tiger’ Varadacharyar and Maharajapuram Vishwanarha Iyer, each with a vast imagination and highly contrasting styles, stand out, as also those of Musiri Subramanya Iyer, Chembai Vaidyanatha Bhagavatar, Semmangudi Srinivasa Iyer, GN Balasubramaniam, Madurai Mani Iyer, Alathur Brothers, Ramnad Krishnan, MD Ramanathan, K VNarayanaswami and Voleti Venkateshwarulu. Principal lady vocalists of the 20th century include T Brinda, MS Subbulakshmi, DK Pattammal and ML Vasanthakumari.
Outstanding instrumentalists include Tirukkodikkaval Krishna Iyer, Dwaram Venkataswami Naidu, Papa Venkataramayya, Rajamanickam Pillai and T Chowdaiah (violinists), Rajaratnam Pillai and Karaikkuruchi Arunachalam (nadaswaram), Dhanammal, Karaikkudi Brothers and S Balachander (veena), Gotuvadyam Narayana Iyengar and Budalur Krishnamurthy Shastri (chitravina), Palladam Sanjeeva Rao and T R Mahalingam (flute), Palghat Mani Iyer, Palghat Ramachandra Iyer, Pazhani Subramaniam Pillai and Murugabhoopathy (mrdangam), Dakshinamurthy Pillai (kanjira), to mention a few. The list is scarcely complete, as it will take volumes to enlist the rest of the stalwarts. For the same reasons, the names of most of the stars of today have not been mentioned here; among the living masters, only a few above the age of 70 have been listed.