We do not have exact details regarding the period of their stay with Dīkṣitar. Later they had their advanced training from Muddusvāmy Dīkṣitar for a period of 7.5 years under ‘gurukulavāsam’. They were prodigious even at their young age and learnt the basics from their father and grandfather Gaṅgaimuttu Naṭṭuvanār. Cinnaiah (1802), Ponniah (1804), Śivānandam (1808) and Vațivēlu (1810) were born to Subbarāya Naṭṭuvanār, who was delegated to perform musical rites in Tanjāvūr Bŗhadīsvara temple. Tanjōre Quartette or Tanjai Nālvar as they are fondly called, hail from a family of rich musical heritage with their father and grandfather adorning the court of Maraṭṭa Kings. Despite this extensive recording, many compositions have not seen the light and remain only in manuscripts and are yet to be published. Also, many compositions exist only in paper as they are not extant in the oral tradition. ![]() Though we have a textual history of approximately 150 years recording the compositions of prominent composers, the corpus of compositions recorded by this way cannot said to be complete. Our music was propagated by two routes – oral and textual.
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