“Swati Tirumal also imbibed the best from the many Hindustani musicians who flocked to his court and composed many songs in Hindustani ragas.”

— Swathi Thirunal Rama Varma

V. K. Subramanian (2013), in "101 Mystics of India", p, 181
About Swathi Thirunal

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Swathi Thirunal Rama Varma 18

Maharajah of Travencore 1813–1846

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“The Maharaja was a remarkable Sanskrit author. He composed numerous works on religion, metaphysics etc…. He also composed songs (on religion) in Telugu, Hindustani, Mahratta and other languages.”

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“What Swati Tirunal’s court introduced, as had Surfoji’s before and the Mysore and Vizianagaram courts later, was the idea of the court as a showpiece of culture, a collection of the best musicians from around the world.”

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About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...

“He was a genius who could not only transcend all theoretical boundaries of a technique, but verily transport any category of listener to a sublime realm. No wonder, he had among his fans as many votaries of Hindustani style as its Carnatic counterpart.”

Bhimsen Joshi (1922–2011) Indian vocalist

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“The trend in the north is more Punjabi folk and simple music. But, in the past, people like Naushad experimented with Hindustani classical music which I think has been completely forgotten. People don't experiment anymore and think that Hindustani classical music won't work. For me, coming from the south, it was just a little step to learn Punjabi music. The nuances are louder in Punjabi music. Songs like Mukkala muqqabla or Humma humma had more of the Tamil folk music in it.”

A. R. Rahman (1966) Indian singer and composer

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“Under Swati Tirunal’s rule, the forms of music and dance peculiar to Travancore, including - the sapna sangitam (literally: step music) sung on the steps of temples and the dance form of Mohiniattam – were significantly altered, brought closer to the forms of music and dance practiced at Tanjavur. Swapna Sangitam known for its slow renditions and limited improvisation, was altered not only by the influx of new style of composing and singing represented by Vadivelu and other Tanjavur Musicians but also by the very structure of music that Swati Tirunal’s court suggested.”

Swathi Thirunal Rama Varma (1813–1846) Maharajah of Travencore

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“The national passion for secular music admitted of little or no abatement by the disgrace and dispersion of the minstrels. Professional musicians, both vocal and instrumental, were afterwards retained at the court, and also in the mansions of the nobility. In the sixteenth century, a knowledge of music was considered as a genteel accomplishment for persons of high rank. Henry VIII not only sang well, but played upon several sorts of instruments; he also wrote songs, and composed the tunes for them; and his example was followed by several of the nobility, his favourites.”

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You and I know the jugglers of words who would honor only a greater juggler, men who carry their heads in baskets to the market-place and sell them to the first bidder.
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“Swati Tirumal also imbibed the best from the many Hindustani musicians who flocked to his court and composed many songs in Hindustani ragas.”

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Swathi Thirunal Rama Varma 18

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