To suit the convenience of modern day classification it came be bundled under the Kalyani Ragaanga, in other words as a member of the Kalyani clan.Ĭoming back to the main thread, this Yamuna Kalyani as envisioned by Dikshitar underwent a further modification in the 20 th century as evidenced by the melodic setting of the two current day famous compositions, “Krishna Nee Begane” and Annamacharya’s “Bhavayami Gopalabalam”. Rather Yamuna Kalyani was Kalyani’s precursor or at least Kalyani’s sibling, having been spun off from Suddha Kalyan. Thus it would be erroneous to state that Yamuna Kalyani is a janya or offshoot of Kalyani.
This Suddha Kalyana spawned modern Kalyani even while it metamorphosed into Yamuna Kalyani as evidenced by the Dikshitar’s “Jambupate Mam Pahi”, the Panchabhuta kshetra kriti on the Lord at Tiruvanaika (Trichy) in this raga. When one traces our musical history, it can be deduced that Yamuna Kalyani had its roots in the old mela of Venkatamakhi called as Kalyana or Suddha Kalyan. In fact the “import” is ascribed to Muthusvami Dikshitar himself with the storyline that he learnt it during his Kashi sojourn. Many of the 20 th century authorities such as Justice T L Venkatarama Iyer have been of the firm opinion that Yamuna Kalyani was an import from Hindustani Music and that the melodic equivalent of our Yamuna Kalyani was Yaman or Iman as it is referred to. In fact there is even an authoritative reference that one of the kritis of Syama Shastri (“Birana Varalichi”) was composed in Yamuna Kalyani, implying that this raga should have been a member of that exalted list of 28 ragas (making it 29) that were utilized by the Trinity in common for their compositions. A look at the musical history as available to us and also given the fact that we have major compositions from both Tyagaraja and Muthusvami Dikshitar, would show that this raga was not a minor one.
Raga Yamuna Kalyani, also called as Yamuna, is a supposedly lighter melody and a minor raga today, under the Kalyani raganga/melakartha.
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