In his early boyhood he was taught Sanskrit and Tamil and thanks to his brilliance in poetry, language skills and music, he developed an intellectual relationship with the then famous poet Madurakavi Bharathiar.
One could imagine fruitful discussions among the two in the presence of their families and Koteeswara Bharthi, at the early age of 12 started composing kirtanams and prabandhas in the praise of his favourite gods Muruga, Meenalkshi Sundareswarar and Subrahmanya.
When he was 18, he became critically ill and at this stage, the legend says that the local deity appeared in his dreams and told him to compose songs in her praise in order to get well.
He was then invited by King Gouri Vallabha of Sivaganga to present his works in the presence of the intellectual community in his palace which he did with brilliance.
To fulfil the royal desire he created a collection called "Skaanda purana Kirtanai" on the mystery of lord Subramanya's avatar.
Azhahar Kuravanji, itself was first released with full notations by his illustrious grandson Koteeswara Ayyar in 1916 along with the Skaanda puranam and Perinba kirtahanigal in three volumes.
In fact, the first volume of the 36 suddha madyama melakartas by Shri Koteeswara ayyar—called "Kanda ganamudham" is dedicated to his maternal grandfather Kavi Kunjara Bharathi.
In fact, this first song itself shows that Kavikunjara Bhaarathi, a contemporary of Shri Tyaagaraaja, has adopted the classical division of the composition into pallavi, anupallavi and Charanam.
A few lines like the ones below makes one imagine the beautiful heroine playing ball with her friends "Chandranenum vadanattil oli minna Takatakajjanu takadari kitutajanu takadom enrani Mohanavalli pandu aadinaal" This song is followed by a classical kummi in Maanji raagam.
The famous song "Ivanaro in Khamboji" The astonished heroine says (in the first charanam): Mohanavalli is love-stricken and her mother is worried about her daughter's plight.
The sakhi then consoles the heroine and asks her to be patient in the song in Kedaaragowla "paavaiye sami varumun ittanai padattam tan unakkenadi".
The gypsy woman's beauty is described in the second charanam: One can see the use of onomatopoeia to bring out the movement of the hands and the tinkling of bracelets.