Thematically, a significant number of Tyagaraja’s compositions are those where he questions Rama on why HE is not responding with alacrity to Tyagaraja’s pleas. In this aspect, Tyagaraja was following a hoary tradition of nindA stuti (prayer couched as censure bordering on abuse). Bhadrachala Ramadasa whose trail Tyagaraja followed was of course renowned for this, as was Purandaradasa.
Many compositions tend to get associated with a particular performer who popularised them, but the linking of mArubalka with Semmangudi Srinivasa Iyer is possibly the epitome of such associations. For lay listeners, serious rasikas and professional musicians alike, mArubalka WAS Semmangudi, and vice versa. I remember a talk by Vidwan Sri D K Jayaraman where he talks about how well he himself had sing this kriti on one occasion and how it nearly was of the same standard as Semmangudi’s rendition. In his own mind also, if you sang mArubalka, the comparison with Semmangudi was a given.