Jayachamaraja Odeyar (Mysore Maharajah) - Part I

drshrikaanth · Post by **drshrikaanth** » 18 Nov 2005, 00:38

drshrikaanth

CML
Does nAga not have the meaning of conch.shankha too?

This kRti is in the rAga nAgadhvani. nAgadhvani is a upAnga janya of the 29th mELa, dhIra SankarAbharaNa.
As used by oDeyar
Scale SR2SM1G3MPN3D1NS* | S*NDNPMGS ||

This is a very rare rAga. oDeyar`s version of the rAga(given in appendix of R.R.Keshavamurthy`s book) is slightly different from that used by MD.
SRGSMGMPDNS | SNDNPMGRGS ||
The PDNS is mentioned traditionally but used sparingly. Even in the ArOhaNa, PNDNS is by far the rule tha the exception. This is the case in the lakShaNa gIte of mudduvenkaTamakhi as well. The rAga has been mentioned by caturdaNDI prakASike as a janya of SankarAbharaNa mELa and having ShaDja as graha. It is of course mentioned by mudduvenkaTamakhi as well. MD has used the rAga in one of his rAgamAlikes. A kRti of his is also available in the rAga- bRhadISvaram bhajarE (not mentioned in SSP but sAhitya structure is like MD`s. I havent heard the kRti though).
The rAga gives bhakti and dIna rasas in the viLamba tempo and allows kampita and jAru gamakas. G, M & N are he rAgachAyA svaras. There is also an element of gaiety/abandon in the rAga(Typical of the janaka`s swarasthAnas) which is amply evident in oDeyar`s kRti which is in a lilting madhyamakAla. The rAga is very close to nIlAmbari, another ancient raktirAga. The svarasandarbhas, prayOgas and gamakas are very similar. This rAga too allows "GMRGS" & "SNN_" which does not help matters in differentiating the two rAgas.There are some differences though in some sancAras but they are certainly not obvious. For instance nIlAmbari will allow "SRGM" and "SGM" but not nAgadhvani. Of cours nIlAmbari is bhAShAnga rAga with N2 occuring in some phrases.Perhaps this close similarity is the reason why the rAga did not come into prominence( or perhaps was prominent but lost popularity).

In oDeyar`s kRti, we find that he strictly adheres to the scale he chose almost throughout. He has completely eschewed "PDNS" prayOga and has also not used "SRGS" prayOga. But I could hear "GRGS" in one place. There is no foray into the mandra sthAyi (but for a hint of mandra niShAda) in the kRti. tAra sthAyi has ben well explored. As I mentioned earlier, the madhyamakAla of the tempo gives a jaunty lilt to the kRti. The madhyamakAlasAhitya only adds to this effect. There is a flavour of western music which of course oDeyar was well-versed and deeply interested in. The ciTTeswara is very attractive and catchy and clearly defines the rAga sancAras. The rAga is clearly defined at the outset itself in the 1st sangati of pallavi- ";SR,SM,G,;MP;,NDNS*NDNP;--"
Altogether a very typical oDeyar kRti and a fine one too.

coolkarni · Post by **coolkarni** » 18 Nov 2005, 00:39

coolkarni

http://rapidshare.de/files/4056094/Char ... a.mp3.html

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:14

kRtis renderd by vid||T.S.Sathyavathi & R.Chandrika.

sAhitya
|| swAminAtha pAlayamAm sadASiva ||

rAga: cArukESi ; khaNDatripuTa tALa

swAminAtha pAlayamAm sadASiva |
svAdiSThAnAdi sakala kShEtrOdbhava ||P||

svAtmAnandarata paramESvara svaprakASa svaravyanjana
swarNagarbha swayam bhava ||AP||

AdhAra akhilalOkANAM AdiguruvarENya ||C1|| (this caraNa acts like the ettugaDe pallavi)

AnandasudhArasavarShaka SrI vidyAnAgalingAtmaka || C2||

ASritAbhiShTaphalada anantAnanta kOTi lAvaNya dEvAgragaNya ||C3||

sajjana hRdaya sadAnanda saccidAnanda Sankara jagadAnanda |
sunAda paritOShita bimba anAdi tEjOrUpa sAmba ||C4||

meena · Post by **meena** » 27 Nov 2005, 00:15

DRS

smt ts sathyavathi is she disciple of sree RKS?

cmlover · Post by **cmlover** » 27 Nov 2005, 00:15

DRS

nAga does not appear to have any meaning associated with conch!

cmlover · Post by **cmlover** » 27 Nov 2005, 00:15

pUrvAdi caturAmnAya madhyavartinIm

can have an alternate explanation.

In Sri vidya pUja, Amnaaya samaShTi pUja is an important component. here is the vedas (AmnaayaH)are assigned to the directions, East Rigveda, South yajurveda, West atharvaNa veda and North Sama veda. And Devi is considered to be at the centre of all.

Thus
pUrva (East) Adi (etc)caturAmnAya (four vedas) madhyavartinI (she who is at the centre.

nnramya · Post by **nnramya** » 27 Nov 2005, 00:15

Yes Meena,
It is Dr. T.S.Sathyavathi, disciple of Shri. R.K.Srikantan!

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:16

Sorry folks, I am a bit slow in recating as the pace set by DRS is too hot to pursue !!
Pardon me and allow me to digress a little more on raga gundukriya again.
Maharaja Krishna raja wodeyar III (1794-1868) - great grand father of Shree Jaya Chamaraja Wodeyar - was anointed as the King of Mysore by the British after the definitive Mysore War -IV in 1799. He was one of the most illustrious among the Rulers of Mysore and a remarkable man. He was a man of great intellect and imagination. A Sanskrit and Kannada scholar, he founded the Mysore Sanskrit College. Mummudi as he was popularly referred to, donated the jewel "Nakshatra-Malike", with 30 Sanskrit slokas inscribed on it, to the Chamundeswari Temple. He was a great patron of art and learning, he was himself an artist, scholar and writer. His magnum opus -sri tattva nidhi- is a monumental and encyclopedic work on iconography, music, dance, astrology and indoor games with lovely paintings.

Please download the painting of gundukriya raga as depicted in the above work.

http://rapidshare.de/files/4082868/krwI ... a.pdf.html

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:16

<lang=kan>

guMDakriyarAgasvaroopa :

shOkAbhibhootanayanA paruShaM rudaMtee
naMmrAnanA dharaNidhoosaragAtrayaShTiH |
amuktacArukabaree priyadooravRuttiH
saMkeertitA guNakaree taruNee kRushAMgee ||
ridhaheenA guNakaree tvauDavA parikeertitA |
vigrahAMshe tu vinyAsaH kaishcit sa ShaDjatrayA matA ||
rajanee moorChanA cAtra mALavAshrayaNeeti ca ||

(moorCanA||)

ni sa ga ma pa ni || sa ga ma pa ni sa ||

<lang=eng>

Description given above by Maharaja Mummudi Krishnaraja Wodeyar emphasizes the feeling of sorrow / melancholy borne out of separation. the rAga personifies a lady in grief as she is faraway and separated from her lover. She is in grief, head is down and hair let loose and her body looks withered out of grief. The lady is shown holding on to a Banana plant and with her friends /servants are trying to comfort her as much as they can with fan, towel etc. The scenic description may also indicate timing as early morning.

..... DRS please comment on the text. may be these ragamalika paintings can become a separate thread if the readers so desire.

meena · Post by **meena** » 27 Nov 2005, 00:17

RCji

thanku for u/l sri-tattva-nidhi for us and translating it.
It is indeed a monumental work piece.

Could u pl. u/l WHEN TIME PERMITS the 'plates' that deals with classical music and dance.

(when u do pl. start a different thread) thanku.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:17

CML thanks for the alternative explanation. It seems to fit the song to a t. As for nAga, I still feel sure I have seen the meanig of conch somewhere. I cant shake it off. O well, until I get a reference, it is doubtful.
Meena
As nrramya has already confirmed, Dr.Sathyavathi is a disciple of RKS. In fact earlier this month she gave a talk on SrI.RKS at Ananya, Malleswara in the series "Living legends". And yes, SrItattva nidhi is a stupendous and monumental contribution by mummaDi kRShNarAja oDeyaru. The oriental Institute, Mysore is doing a great service by publishing the nava nidhis one after the other. They have also wizened up to the fact that one big and pricey trilingual (kannaDa-samskRta- English) volume is less ikely to sell than separate volumes for kannaDa and english with samskRta.
Raja chandra
thanks for the rAgamAlA painting on guNDakriya

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:17

This kRti is on sadASiva. As an introduction , the lady mentions about the mahime of the Lord of gOkarNa, gOkarNESvara of the paraSurAma kShEtra. She states how the place was once enveloped and swallowed up by the sea and was reclaimed by Lord paraSurAma upon request from other sages and good men. gOkarNa is a much venerated tIrthakShEtra where just a darSaNa of the Lord gives the fruits of bathing in all other Siva tIrthakShEtras.

rAga: cArukESi ; khaNDatripuTa tALa

swAminAtha pAlayamAm sadASiva- Protect me O Lord of Lords, sadASiva.
svAdiSThAnAdi sakala kShEtrOdbhava- You Who is the origin of svAdhiShThAna etc

svAtmAnandarata- You Who are immersed in Yourself in eternal bliss/eternal bliss in Yourself; paramESvara- The best of Lords; svaprakASa-Self-radiant; svaravyanjana
swarNagarbha- You Who is in the form of the akShara/Sabda brahma
svara vyanjana form the varNamAle. hiraNyagarbha means One with gold inside/golden-cored. It is a name of brahma/parabrahma

swayam bhava- You born from Yourslef (Not born of parents)

AdhAra akhilalOkANAM -The support for all the worlds; AdiguruvarENya- The First & Foremost among preceptors/guru (this caraNa acts like the ettugaDe pallavi)

AnandasudhArasavarShaka- You Who shower/rain the nectar of happiness; SrI vidyAnAgalingAtmaka- You who is the soulf of SrIvidyA and nAgalinga(nAgalinga is the name of oDeyar`s guru).
This is a beatuiful tribute to his own guru by saying that sadASiva, the greatest of gurus is the soul of his guru, nAgalinga. What more reverence can a disciple show! AcArya dEvO bhava

ASritAbhiShTaphalada _ You Who give all desired fruits to those that seek refuge in you; anantAnanta kOTi lAvaNya- You with infinite beauty in You; dEvAgragaNya -The Lord supreme

sajjana hRdaya- You Who is the heart of pious/good people; sadAnanda- Ever-happy/blissful
sajjanahRdaya sadAnanda can aso be combined to give meaning as "You Who give eternal bliss to the hearts of the pious"

saccidAnanda- You in the form of sat+cit+Ananda (good+knowledge+bliss) ie parabrahma; Sankara; jagadAnanda-joy of the universe.
sunAda paritOShita- You Who is pleased by pleasing sounds(music); bimba- paramAtama
(being the one who is reflected in everything)
Recall the methaphor of paramAtma-jIvAtma as bimba-pratibimba
anAdi tEjOrUpa- One in the form of the beginningless effulgence. sAmba- Siva |

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:18

cArukESi is the 26th mELa
Scale- SR2G3M1PD1N2S* |S*NDPMGRS ||

The rAga has become popular only in modern times. The pUrvAnga is of SankarAbharaNa while the uttarAnga is of tODi. We may recall here that this is the Suddhamadhyama quivalent of RShabhapriya we discussed earlier. The rAga gives SOka rasa with a viShAda(dejection especailly due to rejection) bhAva. This is clearly reflected in tyAgarAja`s "ADa mODi galadE" in the meaning of the mAtu. The same bhAva appears in ST`s kRpayApAlaya. I also feel that the rAga has a folksy air to it and it variations do occur in some folk songs.
The equivalent rAga in the asampUrNa mELa paddhati followed by MD is tarangiNi which has been modified tremendously not only by the change of the dhaivata from Suddha to caturaSra(D2) but also changes in the sancAras so that it neither follows the swaras not the scale. There are still some(a minority!) who sing it with D1 but not AFAIK to the original notation. The original rAga does sound beautiful. The modern version is very close to jhunjhUTi. I however do not think the damage is irreparable(V.V.Srivatsa?)
Coolkarni/ anyone
Can you post the original tarangiNi and perhaps a cArukESi as well.

This kRti has multiple caraNas. As I have noted, the 1st caraNa acts like the ettugaDe pallavi and is the refrain taken up after the subsequent caraNas. At the end, the song is finished by singing the pallavi after this 1st caraNa(Much like the anubandha of the varNas of yore). oDeyar appears to have been in a very devotional and reflective mood when he composed this. The bhakti is clearly apparent. I would not however call this kRtis as one of his best ones in terms of dhAtu/musical content IMHO.

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:18

http://rapidshare.de/files/4092470/Sudd ... i.mp3.html
DRS
working on some gundakriya and charukesi clips....

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:18

charukesi clips are on the raga thread-charukesi

guntakriya-- boy it was like searching for a needle in a ....

here are the only two tracks i got.
by balmurali
: http://rapidshare.de/files/4095861/Inth ... a.mp3.html

and by kvn

: http://rapidshare.de/files/4096694/Inda ... n.mp3.html

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:18

Coolkarni
Thaks for the clips. But no tarangini?(original). The guNDakriya of KVN and MBK seem to be different. But I will have to listen again to be sure.

sAhitya for the Suddha lalita kRti

|| SrIcakrapura nivAsini ||

rAga: Suddhalalita ; AditALa
|| pallavi ||

SrI cakrapura nivAsinI ambA |
SrI rAjarAjESvarI mAmava ||P||

SrIkaNThadayitE SailajAtE ||
Sritajana pArijAtE Suddha lalita svara SubhrahAra virAjitE ||

kAmAkarShiNyAdi caturdaSa |
kAmini samsEvita mahAmAyE ||
kAshmIrAdi kumAryanta puNyakShEtra vAsa niratE |
kaSyapavinuta SrIvidyE sangIta SAstra viSArada tOShitE ||

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:19

DRS

Tarangini -original - no, progress till date.some of my friends only remember VV Subramaniam play the version close to charukesi.Any how we will be on the look out for that.

cmlover · Post by **cmlover** » 27 Nov 2005, 00:19

DRS
here is tarangini from an old 78RPM
http://file.uploadr.com/19b0

nnramya · Post by **nnramya** » 27 Nov 2005, 00:19

DRS/Coolkarni,
I have heard Smt. R.Vedavalli sing Maaye in the original Tarangini.

Here is an another original Tarangini (Maaye), sung by Shri. B.Rajam Iyer! Its clearly in his later years but beautiful, all the same.

http://file.uploadr.com/19b4

Atleast we have the original ragam preserved on record! The original Tarangini was beautiful, just the way it was!

DRS, enjoy!

nnramya · Post by **nnramya** » 27 Nov 2005, 00:20

Btw, I got that from one of the websites dedicated to Dikshitar - http://www.guruguha.org/

rshankar · Post by **rshankar** » 27 Nov 2005, 00:20

Ramakrishnan, you may want to move this to a separate discussion under the Raga thread!
Here are 2 of my favorite versions of the disputed mAyE (in addition to NCVs that CMLji posted): these are from old spool tapes, and I am surprised that they have stood the trials of conerting to cassettes, and from there to AIFF and then to m4a files!
MLV:
http://file.uploadr.com/19bf

MSS:
http://file.uploadr.com/19c1

CMLji, the link you posted for NCVs should not have the period at the end. So I am repasting the correct link:
http://file.uploadr.com/19b0

I also have a version by Sowmya, but that is from a CD that I bought.

Ravi

meena · Post by **meena** » 27 Nov 2005, 00:20

cml

what happened to ur u/l?

rshankar · Post by **rshankar** » 27 Nov 2005, 00:20

Meena,
Try the link I posted.
Ravi

meena · Post by **meena** » 27 Nov 2005, 00:21

thanks shankarji

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:21

rAga: Suddhalalita ; AditALa

SrI cakrapura nivAsinI ambA- O Mother residing in the SrIcakra
SrI rAjarAjESvarI mAmava - rAjarAjESvari, Look at me

SrIkaNThadayitE- Wife of Siva; SailajAtE-Daughter of the mountains;
Sritajana pArijAtE- A grant-wishing tree to those who seek refuge in Her; Suddha lalita svara SubhrahAra virAjitE-One bedecked with a garland of pure and beautiful swaras.

kAmAkarShiNyAdi caturdaSa kAmini samsEvita mahAmAyE- The all-engulfing illusion worshipped by the 14 kAminis starting with kAmAkarShiNi( ??? This has stymied me. I cannot get hold of 14 kAminis (alas!!!). I have 16 AkarShiNiis including kAmAkarShiNi to hand . Anybody knows more?

kAshmIrAdi kumAryanta puNyakShEtra vAsa niratE -One who resides in all the holy places from kASmIra to kanyAkumAri.
kaSyapavinuta SrIvidyE- SrIvidyA worshipped by kaSyapa et al;
sangIta SAstra viSArada tOShitE - One pleased by experts in music and metaphysics/philosophy/treatises.

cmlover · Post by **cmlover** » 27 Nov 2005, 00:21

DRS

You are quite right. Odeyar seems to have goofed. There are 16 kAmAkarShiNyAdi shaktis .

Here is the shlOka:

p^RithivyaptEjO vAyvAkAsha shrOtra cakShur jihvAghrANa vAk pANi pAda pAyUpasthAni manOvikArAH kAmAkarShaNyAdi ShOdasha shakttayaH ||
(bhAvanOpaniShad 14)

It is the sarva samkShObhiNyAdi shaktis which are 14.

By the by mAmava = mAM ava = protect me.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:22

rshankar
thanks for the clips.

CML
I was thinking of the same 14 sampradAya yOginis of the 4th AvaraNa (sarvasaubhAgyadAyaka cakra). There is a sarvAkarShiNi among them but no kAmAkarShiNi. I doubt if oDeyar would have goofed. It may be a scribe who got it wrong( the sAhitya flows well as it is showing consonance so this may not be the case).
Or there may be an explanation to 14 kAminis which we are uaware of.
Also thanks for pointing the error in meaning of "ava" in my explanation. That was a slip. To be precise "ava" would mean favour and hence mAmava would be "look on me favourably/take my side thus protecting me"

Suddhalalita is a ubhaya vakra auDava-sapUrNa upAnga janya of the 11th mELa kOkilapriya/kOkilArava.

Scale SPM1D2N3S* | S*N3S*DPMGR1S ||

One can only admire the dexerity with which oDeyar handles vakra rAgas making them sound so easy to sing. The kRti stretches across the 3 sthAyis. There is a element of adbhuta to this rAga and of course bhakti due to the R2. I felt there is a chAye of kannaDa/saurAShTra/bhairava in the rAga. PMD and SNSD are what give this effect.

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:22

http://rapidshare.de/files/4147768/Neel ... m.mp3.html

Lakshman · Post by **Lakshman** » 27 Nov 2005, 00:25

kartik_krish:
Would you please send me an email message at luzchurch@hotmail.com? I want to find out something from you. Thanks.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:26

This kRti has been rendered by Vid|| G.N.Nagmani Srinath (not the one who talks) and another who is eluding me although the voice rings a bell. Will get back on that.

sAhitya

|| bAlakRSNaM bhAvayEhaM ||

rAga: nIlavENi ; Adi tALa

bAlakRShNam bhAvayEham |
balarAmAnujam dEvakI tanUjam ||P||

nIlavENI gAnalOlam ||
nIlakuntaLa jAlam nIlaratna varamAlam gOpAlam ||

lIlayA kamsAdi daityaharam |
SrI vidyA mOdakaram SrIkaram |
SrI lOlam anagham ASrita mandAram |
kALIya viSadhara bhanjana caturam ||
balirAjya haraNArtha kRta vAmanAvatAram muraLIdharam ||

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:26

I thought Lakshman had forsaken us and the thread. But no he still uses it to correspond with the site owner

Lakshman
Why have you not posted the lists of late? Hope you were not offended by my pointing out missing items in your list (C.Rangaiah, Balamurali).
Do join us back.

meena · Post by **meena** » 27 Nov 2005, 00:26

DRS
the site owner is srkris (aka. chembai) and not kartik_krish.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:27

Oops meena. Thanks for correcting. I was busy thinking of the meaning when I wrote the post.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:27

rAga: nIlavENi ; Adi tALa

bAlakRShNam bhAvayEham- I contemplate on the little balakRShNa.
balarAmAnujam dEvakI tanUjam- The younger Brother of balarAma and the Son of dEvaki.

nIlavENI gAnalOlam- Him That revels in the song of nIlavENi.
nIlakuntaLa jAlam-Him with thick dark tresses; nIlaratna varamAlam- Him with a necklace of sapphire and other gems; gOpAlam- Cowherd/Protector of the world/universe.

lIlayA kamsAdi daityaharam- Him Who playfully slayed kamsa and other demons.
SrI vidyA mOdakaram -Him enjoying in SrIvidyA; SrIkaram- Him that does/bestows all good.
SrI lOlam-Husband of lakShmI; anagham-Flawless/sinless; ASrita mandAram- The wish-granting tree to those who seek his refuge.
kALIya viSadhara bhanjana caturam- The clver one that vanquished the snake kALIya/kALinga.
balirAjya haraNArtha kRta vAmanAvatAram- Him who donned the for of vAmana to capture/take hold of king bali`s kingdom; muraLIdharam- Him that bears the flute.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:27

I would like to draw your attention to the similarities between this kRti and dIkShitar`s "bAlakRShNam bhAvayAmi" in rAga gOpikAvasanta.
Heres the sAhitya

rAga: gOpikAvasanta; AditALa

bAlakRShNam bhAvayAmi |
balarAmAnujam vasudEvajam ||P||

nIlamEghagAtram stutipAtram |
nityAnandakandam mukundam ||AP||

kamalalOcanam karma mOcanam |
kapaTa gOpikA vasantam |
amarArccita caraNam bhavataraNam |
arjuna sArathim karuNAnidhim |
mamatArahitam guruguha vihitam mAdhavam satyabhAmAdhavam |

kamalESam gOkula pravESam kamsabhanjanam bhakta ranjanam ||

And I urge you all to listen to a rendition of this kRti by Semmangudi Srinivasa Iyer on Nada anubhooti website. Here is he URL. Please click on music categories, carnatic vocal and go to G in rAgas and you will find the rAga listed there.

http://home.sprynet.com/~dsivakumar/music/intromus.htm

The sAhitya similarity is striking as also the choice of a closely related rAga.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:27

nIlavENi is a upAnga janya of naThabhairavi, the 20th mELa.

It has the following scale

SR2G2M1PD1N2DS* | S*DPMGRGS ||

R is an important swara- nyAsa and jIva. P too is important as nyAsa. M is used at times as nyAsa. Note that R2-P are vAdi-samvAdi. The scale becomes crystal clear in the ladt sangati of the pallavi. The ciTTeswara is as usual, beautiful and enlightening. G is the only swara with an oscillation. N can have a very slight kampana to it. I feel niShAda can also be used to a great effect in this rAga. That would enhance the bhakti bhAva already evident in the rAga. A very nice rAga that can be exapanded well. But there will be a lot of overlap with other rAgas and the parent rAga itself.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:27

gOpikAvasanta is also a upAnga janya of naThabhairavi with the following scale.

R2SRG2M1PD1PN2S* |S*NDPMGRMGS ||

R,G,M,P are important swaras. N is not given much importance. But if elongated, it could strengthen the dInarAsa. A pUrvAngapradhAna rAga. "PDM" is often used as also "PPS*" as also "NDM"

kartik · Post by **kartik** » 27 Nov 2005, 00:28

Lakshaman ji,

I have sent you a mail to the address you have indicated.

Lakshman · Post by **Lakshman** » 27 Nov 2005, 00:28

Dr.Shrikaanth:
I have not abandoned you. Be assured that you have not offended me. It is just that there have been so many extensive analyses on Odeyar's kritis and so many different rAgAs mentioned that I was not sure which lists you wanted me to post.
So please provide the rAgAs and I will gather up the information and post the lists.

Lakshman · Post by **Lakshman** » 27 Nov 2005, 00:28

kartik_krish:
I still have not recd. your email. What I wated to ask you was whether the nirOSTa varNa composed by SK-Is the recording you have in digital form? If so can you email me the clip? Thanks.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:28

Lakshman

I had only jested in my earlier posts. Thanks for responding. Could you post composition lists for rAgas nAgadhvani, nIlavENi, guNDakriya, Suddhalalita and tarangiNi?

Lakshman · Post by **Lakshman** » 27 Nov 2005, 00:29

Nagadhvani:
Are jagatra I khandane pravina (lkg)?Triputa?Venkatamakhi
Are vasudeva nandana (lng)?Triputa?Govindacharya
Brihadishvaram bhajare re chitta brahmendradi puji?Adi--Muttusvami Dikshitar
Devadi devane?Triputa--Vedanayakam Pillai
Shri lalitam--K/Triputa--Jayachamaraja Odeyar

Gundakriya:
Andaka vaishnava?Annamacharya
Andi chudaga?Annamacharya
Anniyu nalo?Annamacharya
Antayunatani?Annamacharya
Atadu lakshmi?Annamacharya
Aviyu naku brathama?Annamacharya
Baride samsaradi?Vadirajasvami
Dachukoni padalaku?Annamacharya
Devaya havishe dhiraya namaste--K/Chapu--Muttiah Bhagavatar
Devuniki devikini teppala konedamma?Adi?Annamacharya
Dharalo nedbhavam?Annamacharya
E pati tana karma?Annamacharya
Ekkadi udyogalu?Annamacharya
Enniti kennitikani?Annamacharya
Eragadu parasukhamu?Annamacharya
Eti vijnanameti?Annamacharya
Ettuko daivama?Annamacharya
Ghanudatada itadu?Annamacharya
Govinda hari govinda?Annamacharya
Hari bhaktivoda?Annamacharya
Hari govinda hari?Annamacharya
Hari nike sharanani?Annamacharya
Idivo na sampada?Annamacharya
Intanuchu varnimpa tarama bramhendradulakaina?Adi?Tyagaraja
Itara chintalika?Annamacharya
Jagati vaishaka shuddha?Annamacharya
Jaya jaya rama?Annamacharya
Jaya mangalamu?Annamacharya
Jirnamulagu shariramulandu--Sriramachandra Murti Sistla
Jivudu nityudu?Annamacharya
Jnanamu neraganua?Annamacharya
Kadupenta taguduchu kadupenta dinikai padma?Adi?Annamacharya
Kalguta kaligina?Annamacharya
Kanakambari are raganga (g)?Triputa?Venkatamakhi
Kata kata hari?Annamacharya
Kayamu nade --Annamacharya
Kotiki badaga?Annamacharya
Manasulo marmamai?Annamacharya
Manushamu gadu?Annamacharya
Nannu ninnu nenchuko?Annamacharya
Napai ni daya--Sriramachandra Murti Sistla
Nara rupa prahlada?Annamacharya
Natakaminta navvulake putaku bataku?Adi?Annamacharya
Nenemi jeyaga?Annamacharya
Nenemi seyudunu?Annamacharya
Ni dari chera--Sriramachandra Murti Sistla
Nichchananina navalla?Annamacharya
Nishchitam paramam sukhamunu mate nijamu?Adi?Annamacharya
Nive ghanundavu?Annamacharya
Nive sesina cheta?Annamacharya
Okkati taruvata?Annamacharya
Pahi mam shri rajeshvari?Triputa--Jayachamaraja Odeyar
Pantapu tasalu?Annamacharya
Pantapugutte?Annamacharya
Podala bodalaga?Annamacharya
Pranula nerami?Annamacharya
Raja rajendra chola pratishthitam?Triputa--Muttusvami Dikshitar
Samanyulevvariki--Sriramachandra Murti Sistla
Shri sati karune?Annamacharya
Shrikara (p)--Sriramachandra Murti Sistla
Tarunamide nannu brova tamasamela jesevura?Adi--Tiruvettiyur Tyagayya
Teliya jikatiki dipamettaga pedda velagu?Annamacharya
Teliyani variki deramarugu telisina variki?Adi?Annamacharya
Vanchaka vinaikku or kolkalam anaiya (a)?Adi?Ramalingasvami
Vrishbhanerida vishadharanyare pelammayya?Adi?Shripadaraya

Shuddhalalita:
Natanala bhramalaku na manasa natiyinchu?Annamacharya
Nitihata hita palaya mam sarasiruha nabha--Adi Svati Tirunal
Sahasra shirsha samyukte sahajananda shakte?Jhampa--Muttiah Bhagavatar
Shri chakra pura--C/Triputa--Jayachamaraja Odeyar

Tarangini:
Are nirajadala lochana (lng)?Triputa?Govindacharya
Karunarasa?Rupaka--R.Vishveshvaran
Maruti--Bangalore S.Mukund
Maye tvam yahi mam?Adi--Muttusvami Dikshitar
Palaya mam parameshvari kripakari?Rupaka--Muttusvami Dikshitar
Parashakti?Rupaka--Bangalore S.Mukund
Shri rajadguna raji madhura (lkg)?Rupaka?Venkatamakhi
Unnai nan maravene engal--Rajalakshmi Parameshvaran

kartik · Post by **kartik** » 27 Nov 2005, 00:29

Lakshman ji,

I have sent you the mail yesterday.I have the varnam in digital form and shall send it to you as soon as I return to Bangalore.

kaapi · Post by **kaapi** » 27 Nov 2005, 00:30

Sorry to put a spoke in the wheel.
I just read an interview of the Late Sri R.K.Naryan in the Frontline of Chennai wherein he talks about his association with the Late Mysore Doresamy Iyengar. In the course of this interview Narayan says that the " So Called " compositions of the Mysore Maharaja were actually composed by Mysore Vasudevachar. This is the link.
http://www.frontlineonnet.com/fl1423/14231000.htm
If this be true, this explains why the Maharaja never "composed " after 1946, which might have been the year when Vasudevachar moved to Kalakshetra, Chennai.

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:31

It is very unfortunate that an eminent Novelist like R.K.Narayan, should make such a remark. It is very uncharitable to say the least. If somebody says one can compose a kRuti by just barrowing few sanskrit words, t iy only exhibits his ignorance. It only shows that even great men at times show thier small minds.

It is an acknowledged fact that vasudevacharya was the Guru who initiated the Maharaja to the world of carnatic music, who therwise till then an exponent of Wetsern Music.

But this is the reason why his compositions are said to be in western notations.

Vidvan's like channakeshaviah and thitte Krsihna iyengar continued to be in mysore

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:34

Vasudevaccharya has composed many Kruti's and they dont' bear any similarities with maharajas's compositions.

maharaja was a vidya upasaka nd he was initiated to this by shilpi siddalingaswamy and reference to his guru can be found in many kRuti's.

His guru was also responsible for him building many temples in mysore and even these activities ceased after 1947-50. Dakshina murthy temple lies incomplete even today. It only shows maharaja's state of mind after independence and his growing problems with the establishment.

For all this the main reason was after Indpendence his privy purse amount was drastically reduced from around 46 lakhs to 25 lakhs. This forceed him to reduce the palace establishment drastically. Politicians like Kengal hanumanthiah raised serious objections about ownership of his palaces and maharaja had enough problmes on hand and ultimately for this reason only he opted to move to Madras as Governor. But abolishion of privy purse soon took the toll and he had to even sell his bangalore palace, which is mired in litigation even today and Maharaja died a very sad man.

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:34

Otherwise for a man who found an unknown western composer like Medtner and went out of the way and founded a Medtner Society and got his entire compositions recorded for posterity and getting his compositions printed and recorded in his own time would not have been a big task. But the fact remains he had taken too many tasks in his brief reign as Ruler of mysore between 1940 to 1950. Under Jayachamaraja Grantha mala series printed around the same time, he had to spend enormou amounts. But he never used his name in these books, if his nature was to take credit for something he did not contribute, he could as well have claimed the authorship of these books as well.

His only statement to any one who asked about his compositions was -: it is my humble offerings to Devi.

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:35

Any way this is what Dr.V.Doreswamy Iyengar himslef statesin an interviw in 1995: ( in kannada)

"dhAtu mattu dikshitara paMtha , layadalli klishtathe, hosargagaLa prayOga, ellvannu mADi kRuti prapaMcakke hosa Ayamavannu taMdu kottaru"

Dr.R.Satyanarayan states:

The Musical shrine built through ages by his ancestors was fittingly decorated by tower with his intricate but mammoth compositions. The apoorva ragas and intricate talaas he has used in his compositions are true examples for his technical competence. Every krithi has a stamp of individuality and raga choosen is quite appropriate and conclusive to the bhaava expressions . Influnece of Muthuswamy diskhitar can be seen in some of his compositions. That is why Jayachamaraja Wodeyar is called : gana rajendra" and "vaggeya rajendra".

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:37

kaapi
You have not thrown any spoke in the wheel nor thrown a spanner in the works. It is good to clear this now.
I deliberately delayed remarking on your post as I knew Raja chandra would respond to it. He has made valid remarks.
oDeyar was one mahArAja whose scholarship was never in doubt or mired in controversy unlike swAti tirunAL etc. But alas, someone has made a remark in obvious bad taste about him too. But one swallow does not a summer make.
mahArAja lived in recent times and many close associates (some alive even today) have vouchsafed for the same. Not one has made any tasteless remarks. In this issue, a chance and unqualified remark by a wayfarer like Narayan will hardly stir the surface waters. There is a huge difference in the style of the compositins of oDeyar and vAsudEvAcArya- both in dhAtu and in mAtu. For one thing, oDeyar`s kRtis are certainly no mishmash of aShTOttara nAmas. I hope my expalanations on his kRtis so far might have at least partly made that clear. oDeyar`s use of samskRta in his kRtis is palpably different from that of maisUru vAsudEvAcAr. He does not employ yati and prAsa while the latter most emphatically does use prAsa although not so much of yati.
The words employed by the two are different. So are the rAgas used and the way the rAgas have been used. Also, the style of composing such as the use of ciTTEswaras aplenty and the swarasAhitya passages is not seen in vAsudEvAcAr. He has only composed ciTTeswaras for a few of his kRtis and no swarasAhitya passages if I remember right. The flavour od western music and the use of dATu swaras emphasizing this aspect is not seen in MV. Also, he was not trained in western music. (Maybe R.K.Narayan knows otherwise ). Also MV has composed in various other genres and used telugu for the same in a majority. But not so with oDeyar. He has composed only kRtis and only in samskRta. Also, there is little overlap in the rAgas employed by the two. MV is not credited with discovering or bringing to light new rAgas.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:38

oDeyar was gracious enough to acknowledge MV`s guidance with regard to karNATaka sangIta.Had he chosen so, he could have easily concealed this fact too. oDeyar did ask his AsthAna music vidvAns to compose in kannaDa and on the cAmuNDI aShTOttara and it was only muttiah bhAgavatar that rose to the occasion and composed all the kRtis in kannaDa wih the help of an AsthAna kannaDa scholar-dEvOttama jOis. Had he wanted to, oDeyar could have too easily told dEvOttama jOis who was in his AsthAna to write the lyrics, ordered MV to compose music for the same and claimed them all as his own. But he did not do so.
And MV was a very outgoing and extrovert person. It would indeed look very srange if he composed loads of his kRtis in one style but all of a sudden composed in a drastically different style that had never been apparent in his kRtis when oDeyar bid him to. In my opinion, to cast this baseless allegation is doing a disservice to not only oDeyar but also MV.

Let me finish with the beginning lines of a purandaradAsara dEvaranAma

nindakarirabEkirabEku mudi-
handi iddare kEru hEge SuddhiyO hAgE |

And an ageold kannaDa gAde(proverb)
nAyi bogaLidare dEvalOka hALAdItE !