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

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

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Swathi Thirunal Rama Varma18

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.”

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

Shungoony Menon, in "The Monarch musician"
About Swathi Thirunal

“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.”

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

In P.64
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

Critique

“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

The A R Rahman Chat

“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

K.M Panikkar quoted in pp.63-64
About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...

“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.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 259
The Sports and Pastimes of the People of England (1801), Minstrels

“Our Lord has many weak children in His family, many dull pupils in His school, many raw soldiers in His army, and many lame sheep in His flock. Yet He bears with them all, and casts none away.”

J.C. Ryle (1816–1900) Anglican bishop

Vol. III, John XX: 24–31, p. 406
Expository Thoughts on the Gospels: St. John (1865–1873)

“A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians.”

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“Angels’ song, comforting
as the comfort of Christ
When he spake tenderly
to his sorrowful flock.”

Robert Seymour Bridges (1844–1930) British writer

Noel Christmas Eve 1913.
Poetry

“Many indeed are the owls who know no song unlike their own hooting.”

Khalil Gibran book Jesus, The Son of Man

Jesus, The Son of Man (1928)
Context: Many are the fools who say that Jesus stood in His own path and opposed Himself; that He knew not His own mind, and in the absence of that knowledge confounded Himself.
Many indeed are the owls who know no song unlike their own hooting.
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.
We know the pygmies who abuse the sky-man. And we know what the weed would say of the oak tree and the cedar.
I pity them that they cannot rise to the heights.

Nicodemus The Poet, The Youngest Of The Elders In The Sanhedrim: On Fools And Jugglers

“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 Varma18

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