When I started maintaining a series of notes (and I need to stop using paper) on the ragams learnt, i tried reading up on that particular composer and the composition in an effort to understand them better. Now i realise that this is not a small project and cross-checking books and online resources takes a helluva lotta time. Each composer deserves their own page instead of a scribbled one-liner amongst other notes, and there being just a handful of composers, this may not be a long series !

ANNAMACHARYA :: - He was the first to structure lyrics in the pallavi and charanam mode, of which 14,000 lyrics are available out of his staggering 32,000 compositions! He used the mudra (signature) "Venkateswara" with slight contextual variations but many were "Anonymous" with no signature. In 1922 the Tirupati Devasthanam authorities stumbled upon the copper plates on which the songs had been engraved by Annamacharya's grandson Chinna Tirumalacharya.

Annamacharya's lilting poetry also encompassed folk compositions but the most famous ones include “Muddu gaaru yashoda", "Ksheerabdi kanyakadu" and “Bhavayami Gopala Balam", which we performed earlier (twice to be precise), with its sonorous lines like “Ghati ghatita mekala Kachita mani ghantika...” and "Ksheerabdi" - which has a lilting melody and is best heard when you are lying on a swing .... guaranteed to send your brain into "relax" mode.

A king called Saluva Narasimha Raya, had demanded that Annamacharya compose similar erotic poetry glorifying him but the poet declined, saying his poetry and music were dedicated to the Almighty alone, for which he was imprisoned by the King. One cant blame the King as after listening to "Muddugaru" and "Ksheerabdi" you will never know that both belong to the same - kuranji raga composition. His compositions blend devotion with erotic love and include subtle Vedic, Tantric and scriptural references, whilst the initiated can decipher the mantras and astrology embedded in the compositions.