Jayachamaraja Odeyar (Mysore Maharajah) - Part I

Carnatic composers (other than performing vidwans)
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coolkarni

Post by coolkarni »

coolkarni

drsrikaanth
raja chandra

your mention of prof ramratnam tickled my interest in this artist ,once again.for years i have had only two photos and two clips of this artist.i have requested you to throw more light on this subject in the thread on (relatively)lesser known musicians under general discussions.

thanks in advance

kartik
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Joined: 06 Feb 2010, 06:25

Post by kartik »

kartik_krish

This composition is quite different from MD's masterpiece Sri Guruguha Murthey.Essentially different interpretations and colors of the raga.
This piece is frequently marked and rendered in Shudha Dhanyasi.

it is also very interesting to note that Udayaravichandrika(URC) is classified under Kokilapriya.If the earliest mela concept is used,it could still be Dhenuka.If URC is under Kokilapriya,does it conform to Katapayadi rule?
How about the Lakshana for the raga?

It may also be well worth discussing the lakshana for the ragas to come as well.

kartik
Posts: 226
Joined: 06 Feb 2010, 06:25

Post by kartik »

kartik_krish

Dr Srikaanth observations about Bhogavasantha are thus-
A very pleasing rAga easy to sing although one has to watch ones step to avoid slipping into hamsAnandi, the only difference being dhaivata. This is not too difficult. Another very closley allied rAga is kumudakriya born of the same mELa. Effectively the only difference in scale is that this lacks niShAda also in the ascent making it an auDava-ShADava rAga. But in kumudakriya, R and D are more prominent as compared to G and N.

What he has said is very correct, but in being an audava shadava raga,the arohana is SRGMDDS (note the DDS prayoga).This may be one of the reasons why it may be a case to discuss the ragas as well As we go further in His Highness JCW's kriti discussions ,it well be greatly useful since he has discovered ragas such as Amritavarshini (navamrutavarshini),Jayasamvardhini,Doorvanki,Kokilapanchama etc.

Lakshman
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Joined: 10 Feb 2010, 18:52

Post by Lakshman »

Lakshman

I have this version of the kriti:

manOnmaNi mAmavatu. rAgA: udayaravicandrikA. c/dhruva tALA.

P: manOnmaNi mAmavatu manOllAsini
A: mahAdEva mOhini madurA nagara vAsini mahiSa bhaNDa tripurAsura pramukha
mada bhanjani mahArAjni mahAdEvi mahA mAnini mAdhavi mAtangi
C: tripura vAsini shrI vidyA kaivalyadAyini shrI girIsha kAmini shrI shashi shEkhara mOdini
shrI durgAmbikAya ravicandrikA hari virinjAdi samsEvita hiraNmaya kamalapAda haradEvatA

Raja Chandra
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Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

Raja Chandra

dear DRS,

my pc has some problem with audio output and i have not heard the rendering of the kRuti, but i suppose your doubt is about the line:

||SrI durgAmbikAdyamartyAdi vanditA SrIlalitA ||

I think the following is the correct one:

||shree durgAMbikAyA martyAdivaMditA shree lalitA||

Raja Chandra
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Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

Raja Chandra

dear shree coolkarni ,

you mean you want to know more about Prof.V.Ramarathnam ?

Raja Chandra
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Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

Raja Chandra

dear shree DRS,

kindly peruse the document :

http://rapidshare.de/files/3881332/jcrw ... e.pdf.html

hope it is of some use.

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

Welcome karthik-krish

Raja Chandra
thanks for that notation in Srikantan`s lovely writing (muttinantaha akShara). That is exactly how Sathyavathi sings "durgAmbikAryamartyAdi". I Only changed it to AdyamartyAdi as I was not able to make out the meaning (with my limited knowledge of samskRta). Another book gives it as durgAmbikAyA martyAdi. This looks definitely wrong. You have given it as durgAmbikAyAmityAdi in forumhub.

rAga: udayaravicandrike ; caturaSra dhruva tALa

P: manOnmani mAmavatu - May manOnmani protect me;mAnasOllAsini- She Who enjoys in the mind(OR gives joy to the mind).

AP: mahAdEva mOhini- She That attracts mahAdEva; madhurAnagara nivAsini She Who resides in the city of madhrA
mahiShabhaNDa tripurAsura pramukha mada bhanjani - She Who destroyed the arrogance of the likes of mahiShAsura, bhaNDAsura
mahArAj~ni- Queen; mahAdEvi; mahAmAnini- The greatest of ladies; mAdhavi; mAtangi- daughter of matanga

SrImahArAj~ni is the 2nd name in the sahasranAma. It iincludes 3 of the pancadaSAkSharas within it.
mahAdEvi- As She has a form tha is mahat & immeasurable, she is mahAdEvi. mahA also means pUje in samskRta and as She is One worthy of worship, She is mahAdEvi. Here is a quote from dEvI purANa

bRhadasya SarIram yadapramEyam pramANatah
dhAturmahEti pUjAyAm mahAdEvI tatah smRtA "

Also she is the Consort of mahAdEva and hence mahAdEvi.

SrIpuravAsini She Who resides in SrIpuara(SrIcakra. Asa an aside, tiruvAyUr is also called SrIpura); SrIvidyA; kaivalyadAyini- She Who releases one from all ties.
SrI girISakAmini - She that loves the Lord of the mountain (kailAsanAtha siva); SrI SaSiSEkhara mOdini- She That pleases the Lord who wears the moon;
SrI durgAmbikAdyamartyAdi - Sri durgAmbikA +Adi+ amartya+Adi vanditA- She who is worshipped by durgA and other suras etc; SrI lalitA

If it is taken as durgAmbikAryamartyAdi vanditA, it could be split as
durgAmbikA+ Arya+martyAdi vandtA- She Who is worshipped by civilized people (Or the natives of Aryavarta) .

SrIkarOdayaravicandrikA prakASitA- She Who bestows all riches and goodies and shines with the radiance of the rising sun(candrikA means splendour/radiance);
harivirincAdi samsEvita- She Who is served by viShNu and brahma; hiraNmaya kamalapadA- She with golden lotus feet; paradEvatA- The Highest of the high

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

udayaravicandrike is a janya of the 9th mELa, dhuni bhinnaShaDja/dhEnuka. mudduvenkaTamakhi and SSP say the same. I dont know why Sathyavathi says it is a janya of kOkilapriya. It is a ubhaya krama auDava upAnga janya.
Scale SG2M1PN3S* |S*NPMGS ||

Many people still confuse this rAga with SuddhadhanyAsi and mix up the names. SuddhadhanyAsi has N2. MD`s "SrI guruguhumUrtE" is a beautiful kRti as is the one we are dicussing. N3 and G2 are very important swaras in this rAga and have to be emphasized. M is less prominent as compared to Suddhadhanyasi IMHO. If one looks at the swarasthAnas, this rAga is very close to nATa. G2=R3 avarOhaNa is identical and ArOHhaNa is silar except that G3 is missing here along with the D3 which is very rare even in nATa. But the important differences are the handling of the 2 swaras G and N. R3 is always sung with a gamaka from S below it as SR~~ or "SRSR". While G2 is sung with a gamaka from M above as "MGMG" Also N in this rAga can be held as a plain note while in nATa it has an upward gamaka reaching S*.

This kRti is brisk and conveys the beautiful rAga well. G has been correctly emphasized. I also found the anupallavi part "mahArAJ~ni mahAdEvi, mahAmAnini, mAdhavi, mAtangi" very catch. The recurrence of mahA as well as each word starting offbeat sounds nice. The rAgamudre has been incorporated in the sAhitya much the same way as dIkshitar has done (AtmOdaya ravicandrikA).
MD`s SrI guruguhamUrtE is more viLamba than this krti. Also N3 is more prominent in that kRti (e.g yOginI). Otherwise, I did not find much difference.

Here is SRJ`s udayaravicandrike (from a lecdem posted earlier on x-drive)

http://rapidshare.de/files/3885714/03ud ... a.mp3.html

Coolkarni
Lets have the next one.

arunk
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Joined: 07 Feb 2010, 21:41

Post by arunk »

arunk

dr.shrikkanth/others

Is Tyagaraja's krithi (enta nErcinA) composed in this raga structure (i.e. as per manuscripts etc.)? I thought it appears in records as udayaravicandrikA and not suddha dhanyAsi. But it is sung like the latter today right?

Arun

coolkarni

Post by coolkarni »

coolkarni

http://rapidshare.de/files/3888725/Rish ... i.mp3.html

raja chandra.
Several links to details about Prof Ramratnam have been posted on the thread on Musicians rarely heard.thanks to all of you.
.Is there any possibility of us hearing more stuff from these stalwarts.Have we missed out on any other big names....

kartik
Posts: 226
Joined: 06 Feb 2010, 06:25

Post by kartik »

kartik_krish

Thanks a lot 'Cool'Karni for uploading this great composition.

IMHO,this is one of the very best compositions composed by His Highness musically.The entire juice of Rishabhapriya has been brought to the forefront,especially the pallavi.The madhyamakala is breathtaking.

This composition is certainly worthy of qualifying as a main piece in concerts.What is also very interesting is that Rishabhapriya has been treated extremely brilliantly and very differently when compared to 'Mara ratipriyam', 'Mahatmule' or 'Mahima Takkinsuko' or even 'Gananaya Desika'.

I have another rendition of this kriti(which I reckon is by Rudrapattinam brothers, which is quite express speed as compared to this relaxed rendering by Shankar) which is also very good.The notation is very different. I shall upload the same soon.

DRS,what is 'Aparoksha Gnana' mean?Also,what is the significance of Bhuvaneshawari in Srividya?There is also a reference to Durvasa in this kriti?What is the anecdote?

abadri
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Joined: 08 Jun 2005, 00:04

Post by abadri »

abadri

Responding to a request for kumudakriyA. Here's TNS singing ardhanAreeswaram:-
http://rapidshare.de/files/3896888/TNS- ... A.mp3.html

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

This has been sung by S.Shankar.
sAhitya

rAga: RShabhapriya ; khaNDatripuTa tALa

SrI cAmuNDESvari pAlayamAm |
SrI rAjarAjESvari bhuvanESvari ||P||

SrI vidyE aparOkSha j~nAna manOnukUlE |
SrI kaNThadayitE j~nAna kriyEcchASakti sahitE
ananta guNa SIlE ||AP||

dUrvAsa mahAmuni hRttOShakari |
durgASabda bOdhita vijayESvari |
pUrvAdi saptasamudra pavitrakari |
pUrNa candra kalAdhari kRSOdari |
parvata rAjakumAri pApavimOcanakari lOpAmudrA Sankari |
parvakAlArcita SrI mahAtripura sundari RShabha priya rAga mOdakari ||C||

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

rAga: RShabhapriya ; khaNDatripuTa tALa

SrI cAmuNDESvari pAlayamAm -Protect me SrI cAmuNDESVar|
SrI rAjarAjESvari- reigning Queen of all kings and Lords; bhuvanESvari - Queen of the 14 worlds (I am not aware of any special significane of bhvanESvari in SrIvidyA)

SrI vidyE; aparOkSha j~nAna manOnukUlE - parOkSha is that which is not seen(substituted/proxy so aparOkSha is that which is evident and directly seen (Not unseen or indirect). She facilitaes the mind to gain aparOkSha knwldge/wisdom.
|
SrI kaNThadayitE wife of Siva; j~nAna kriyEcchASakti sahitE- She with the sakti traya.
ananta guNa SIlE- She with countless/endless good atributes.

dUrvAsa mahAmuni hRttOShakari - She that gives joy to the sage dUrvAsa (dUrvAsa is one of the acknowledged prominent SrividyA upAsakAs)
durgASabda bOdhita vijayESvari- The vijayESvari That is taught/known by the word durgA.

1-There are 2 (at least) explanations for the name durgA.
Se is acclaimed as durgA as she killed a powerful asura named durga

tattraivaca vadhiShyAmi durgamAkhyAm mahAsuram |
durgAdEvIti vikhyAtam tanmE nAma bhaviShyati ||
(mArkaNDEya purANa, lakShmI tantra of pancarAtra)

2-As She rescued indra and other dEvas and helped them overcome unconquerable enemies/obstacles, She is called durgA.

tAritA ripusankaTE dEvAh SakrAdayO EnatEna durgA prakIrtitA ||
(dEvIpurANa)

pUrvAdi saptasamudra pavitrakari- She Who purifies/make holy th seven seas(oceans).
pUrNa candra kalAdhari- She That wears the full moon;
Note cArucandrakalAdharA, catuSSaShThi kalamayi etc in the sahasranAma.
kRSOdari-She witha slim waist/abdomen
parvata rAjakumAri -The daughter of the king among mountains(himavat parvata);pApavimOcanakari - She That destroys all sins;
lOpAmudrA- lOpAmudra is the wife of agastya who is also among the foremost SrIvidyA upasakas. It is also a name of dEvi itself.

As she was pleased by the worship of lOpAmudrA She Herself was called lOpAmudrA.
agastya patnyA lOpAkhyamudrAyAH paramESvarI |
prasanna tvAdiyam dEvI lOpAmudrEti gIyatE ||
( tripurA siddhAnta.)
lOpAmudrA is also a name for the pancadaSI mantra

Sankari
parvakAlArcita SrI mahAtripura sundari- mahAtripurasundarI that is worshipped during the parvakAla(periodic change of moon).
RShabha priya rAga mOdakari - She That is pleased by the RShabhapriya rAga.

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

coolkarni
You may post the next one while I dicuss about the musical aspects of this kRti.

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

RShabhapriya is the 62nd mELa. It is called ratipriya by venkaTamakhi & dIkShitar school. The scales for the 2 are the same with a few viSeSha vakra prayOgas in the latter.
Scale SR2G3M2PD1N2S* |SNDPMGRS ||
It is the pratimadhyama of cArukESi and has kalyANi chAye in pUrvAnga and ShaNmukhapriya chAye in uttarAnga. But that is not to say this rAga has no melodic entity of its own. Much to the contrary, this a very beautiful raga yet no fully explored. It gives rise to bhakti and karuNA rasa. This is particularly strong in the uttarAnga while the pUrvAnga brings about some calm/samAdhAna. G, M and N are the jIvaswaras.

This paricular kRti is very beautiful and clearly oDeyar has explored and helped in demarcating and extending the limits of the rAga`s expanse. The stately viLamba pace has helped this. And of course, Shankar`s singing has done justice to it. There is a lots of Rshabha used in this kRti as also the prayOga "PDM". Also Rshabha & pancama have been used prominently as the nyasa. There is a good exploration of the pUrvAnga with some kalyANi-like prayOgas (nothing wrong with it!).

There is an excellent "ghana naya dESika" by U.Srinivas on nadaanubhooti website.

Coolkarni
Can you post some other Rshabhapriya/ratipriya renditions please? There are hardly any on websites. Hopefully mahAtmule and MD`s mAraratipriyam. I have heard G.N.Nagmani Srinath sing mahAtmule live. Very nice indeed.

coolkarni

Post by coolkarni »

coolkarni

here is a very nice one by TRS
http://rapidshare.de/files/3926403/05a- ... a.mp3.html

: http://rapidshare.de/files/3926696/05b- ... a.mp3.html

will try to fish out a Kalyanraman beauty later.
also trying to find out a noncommercial track by MLV.
has kalyANi chAye in pUrvAnga and ShaNmukhapriya chAye in uttarAnga. But that is not to say this rAga has no melodic entity of its own.
Please do give such tips wherever possible.Great use for kansens like me.

kartik
Posts: 226
Joined: 06 Feb 2010, 06:25

Post by kartik »

kartik_krish

DRS,thanks for the post.

I have uploaded another version of SriChamundeswari by Rudrapattinam Bros(I think so,correct me if I am in the wrong),may be a concert recording.It is a very nice rendering and also has a different notation to the one Shankar has rendered.The quality of the recording is not very great.

http://rapidshare.de/files/3928078/SriC ... ri.rm.html

AIR Bangalore had once broadcast a composition of Veena Seshanna,IIRC,in Rishabhapriya which is dedicated to Lord Venkatesha.It was not particularly rendered on the Veena.Lakshmanji,can you post the lyrics of the same?

Will also upload 'Mahima Takkinsuko' of Tyagaraja soon.

coolkarni

Post by coolkarni »

coolkarni

one more rishabhapriya , this time by kalyanraman

http://rapidshare.de/files/3939379/Gana ... a.mp3.html

coolkarni

Post by coolkarni »


Raja Chandra
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Post by Raja Chandra »


drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

karthik_krish
It is rudrapaTNa brothers-Tyagaraja, Taranatha- nephews of Srikantan.
The major difference between their vesion and that of Shankar is in the pace. By that i mean not just relative speed but in the laya. Shankar sings it in 2 kaLe khaNDa tripuTa tALa while the brothers sing in 1 kaLe. That is what makes the 2 appear so different. Otherwise, the notation itself is not so drastically different. Of course one cannot manoeuvre sme of the gamakas very well while singing in madhyama kAla.

Coolkarni
The RShabhapriya pieces you posted are great. But no mahAtuleor mAraratipriyam? On a sidetrack, how can one convert clips to Real player files? It takes much less space.

Raja Chandra
thanks for the notation. idu yAra barahavo?

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

cmlover

DRS
follow the link
http://www.dbpoweramp.com/
download and install it. Then visit the plug-in section to install realaudio converter. You can convert any MP3 file into realaudio (but the reverse is prohibited). GOOD LUCK!

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

I am posting the sAhitya.

|| pAhimAm varalakShmi ||

rAga: guNDakriya ; khaNDatripuTa tALa

pAhimAm SrI varalakShmi kAmAkShi || P||

mahiShAsurAdi ripukula vidhvamsini |
mahAmahimaSAlini mahAgaNapati guhajanani mahAbalAdrivAsini ||AP||

Ehi vArijamukhi tribhuvanESvari |
dEhi mE mudam SrIvidyAdhISvari|
aihikAmuShmika phalapradESvari |
dEhi mE dRDha bhaktim jagadISvari |
parabrahmasvarUpiNi vara guNDakriyA rAgarAgiNi kalyANi ||C||

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

This song is a stuti of mahiShAsuramardini, SrI cAmuNDESvari The kuladEvate of the oDeyars.

pAhimAm SrI varalakShmi kAmAkShi - Protect me O SrI, varalakShmi, kAmAkShi

mahiShAsurAdi ripukula vidhvamsini- You Who annihilated hordes of enemies such as mahiShAsura.
mahAmahimaSAlini- You Who is great; mahAgaNapati guhajanani - Mother of gaNapati and skanda/kArtikEya; mahAbalAdrivAsini - You Who reside in the mahAbala mountain. (the cAmuNDi beTTa/hills in Mysore is called mahAbalAdri)

Ehi vArijamukhi tribhuvanESvari- Come near me O lotus-faced Queen of the 14 worlds.
dEhi mE mudam SrIvidyAdhISvari- Give me joy/happiness O Mistress of srIvidyA.
aihikAmuShmika phalapradESvari -You Who give the fruits of both this world and the beyond. (aihika is of iha; AmuShmika is para)
dEhi mE dRDha bhaktim jagadISvari - Give me steadfast devotion jagadIDvari(same as bhuvanESvari)
parabrahmasvarUpiNi- You Who is the parabrahma personified;
vara guNDakriyA rAgarAgiNi- You Who takes pleasure in the guNDakriya rAga; kalyANi

I wonder when oDeyar composed this kRti. My gut feeling is that he composed this at a time of duress when he had doubts that he might lose his kingdom.

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

guNdakriya isa janya of the 15th mELa mAyA mALavagauLa. It is upAnga auDava- vakrasampUrNa rAga. Interestingly the version odeyar has used is different from what dIkShitar used and is quite simple.
Scale SR1M1PN3S* | S*NPD1PMG3RS ||

This is one of the versions given by R.R.Keshavamurthy in the appendix of his book "rAgalakShaNa mattu rAgakOSa".
Dikshitar has used the following scale
SRGMPDNS* | S*_NPMGMDPMGRS ||
There are viSESha prayOgas which do not strictly follow the scale. D is used sparingly(alpatva).
There is a rAgAngarAga gIte of mudduvenkatamakhi- a very elaborate and lengthy composition exploring the rAga in full detail

This and several other differences is why I feel the similarities between dIkShitar and oDeyar are only on the surface- in the choice of the language of expression and in being knowledgable about SrividyA ad several other SAstras. But oDeyar has chosen and made his own path.

Anyway, listening to the kRti makes one feel the rAga is a sankIrNa rAga i.e it has the feel of many rAgas in it. The chAye of jaganmOhini is distinctly apparent in the start of the pallavi (SrI varalakShmi- in "GMPNS*NPNPMG_") while elsewhere we have gauLachAye aplenty. There is also hint of malahari. The ciTTeswara is lilting and makes the sancAra of the rAga clear, leaving no room for doubt.
oDeyar has composed nice ciTTeswaras for many of his kRtis (another similarity to dIkShitar). Also he is a pastmaster in composing in krtis with swara sAhitya- like the pancaratnas, SrIraghuvarApramEyam. I would say he is the best composer of that genre of compositions (mahAgaNapatim in amRtavAhini, kamalAmbikE in nATa).

kartik
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Joined: 06 Feb 2010, 06:25

Post by kartik »

kartik_krish

DRS,
This is one of the 5-6 kritis of HH on Varalakshmi.This composition seems to portray Gundakriya more distinctly that Tyagaraja's kriti IMHO.While certainly this kriti can easily be a wonderful concert piece,there are again 2 versions of it.


I am now posting a version of Nagamani Srinath's (I think) SriVidyam Lalitham in Nadabrahma, which differs from the one earlier one posted,and seems to modeled more on the lines of Nasamani.

http://rapidshare.de/files/3960841/SriVidyam.rm.html

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

Karthik_krish
I think the guNDakriya kRtis is on the lakShmi aspect of cAmuNDESvari. There is little room for doubt here. It is the word "varalakShmi" that throws confusion. But recall MD`s "kAmAkShi SrI varalakShmi" which has so many lakShmis in it but is still a kRti on kAmAkShi only.
Thanks for the nAdabrahma kRti by Nagmani Srinath. It did not appear to be any signicantly different from Sheela`s rendition apart from birkas/uruTus so typical of nagmani. Also, could you please explain what you meant by "modeled on the lines of nAsAmaNi". In the absence of R3, amd having a common uttarAnga with vAcaspati, hEmavati, it is difficult to pin down nAsAmaNi. Having said that, I can see some similarity between some phrases in "SrIramA saraswatI sEvitAm" and this kRti. "GS" is seen even in nAsAmaNi but it is more commonly "MR3GS" in that rAga.

>>This composition seems to portray Gundakriya more distinctly that Tyagaraja's kriti IMHO<<
The versions used by tyAgarAja & MD and the one used by oDeyar are entirely different as I have pointed out earlier. They only share the same name and janaka rAga but otherwise they are essentially 2 different rAgas. So it may not be very fair to compare them.

Can anybody post renditions of other guNdakriya kRtis (tyAgarAja/MD)?
It would be very enlightening to hear and know about the rAga and its alternate version.

Lakshman
We are still awaiting your list.

Coolkarni
When will we have the next one?

coolkarni

Post by coolkarni »

coolkarni

here is a track which i simply love.
Is it the raga , or the lyrics , or RK Srikantans voice that makes it so endearing...?
or all of them ....?
One of the best tracks in this bunch.

http://rapidshare.de/files/3970977/Simh ... i.mp3.html

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

One interesting anecdote about guNDakriya. It is said that nArada had become haughty and was boasting that he was the greatest musician in all the 14 worlds. One day it so happened that while thus boasting to SrImannArAyaNa Himself and walking with Him, they came to sit on a rock. After a while, when he tried to get up he realized much to his dismay that he had got stuck. Try as he would, he was unable to free himself. Then, as it dawned to him that it was the Lord`s doing, he prayed forgivance and surrenderd to the Lord. The Lord wantonly said he could do nothing and hanumanta alone could release nArada. This of course surprised narada no end. Then hanumanta cam along and sang the guNDakriya rAga which made the rock melt and thus nArada was released. nArada realized two things then- the power of music and bhakti adn of course the folly of arrogance.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This kRti has been sung by SrI.R.K.Srikantan and hi son R.S.Ramakant.

The sAhitya is
|| bAlE bRhat-sRShTi mUlE ||

rAga: simhEndramadhyama ; AditALa.

bAlE bRhat sRShTimUlE vimalE |
kApAlESvara mahAdEva lIlE ||P||

jvAlE vicitra mAyA jAlE |
kRpAlavAlE mOkShakari kuNDali mAlE kOmalE ||AP||

namOntA divyanAma pUjitE |
navAvaraNAntargata vAsaratE |
bhUmipAlanaratE brahmajAtE |
bhUdharAdhipatisutE SivasahitE ||
kamanIya simhEndra madhyamE narakaNThIrava manOramE |
namaka chamaka stOtra suprItE SrI vidyE sadAnamastE ||C||

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Note that in this kRtis the kriyApada namastE occurs at the very end. Perhaps oDeyar wanted this to be a namOnta stOtra as well.
Meaning
rAga: simhEndramadhyama ; AditALa.

bAlE- She Who is ever in the form of a 16 year old
(tripuraundari is also called bAlA. She is the One seated on sivakAmESvara`s lap)
bRhat sRShTimUlE- She Who is the origin of the myriad forms of creation. (note the contrast between her age and her powers!)
vimalE- She Who is pure
kApAlESvara mahAdEva lIlE - She Who is the enchantment of mahAdEva, the Lord of kApAlas(a sect of Saiva ascetics).

jvAlE-She Who is ever irridescent/radiant (jvAlAmAlini); vicitra mAyA jAlE- She Who creates the strange and beautiful illusion that is this world. |
kRpAlavAlE She Who is benevolent and compassionate; mOkShakari - She Who gives salvation;kuNDali mAlE- She is the kUNDalini.
kUNDalini is the divine/cosmic power residing in the mUlAdjhAra cakra(suptacEtana) and is in the form of a coiled serpent. When awoken, it ascends through the various cakras, breaking through the 3 granthis-brahma, viShNu and Siva on its way to unite with Siva in the sahasrAra cakra and shower/shed amRta/nectar in the process. It is said that at the beginning of creation, She was united with Siva in the sahasrAra and is parabrahmasvarUpiNi. She gradually descended through the cakras giving birth to maind and the pancabhUtas. t
kOmalE- She Who is tender.

namOntA divyanAma pUjitE - She who is worshipped with the chanting of Her holy names ending with namah( as in the sahasranama/triSati)
navAvaraNAntargata vAsaratE- She Who resides in Her abode within the 9 AvaraNas
bhUmipAlanaratE- She Who is engaged in protecting this world; brahmajAtE- She Who is the mother of brahma/parabrahma(Not the other way round)
bhUdharAdhipatisutE- She Who is the daughter of the King among mountains(bhUdhara means mountain); SivasahitE- She with Siva.
kamanIya simhEndra madhyamE- She Who has the lovely waist as that of a lion.
(simhanaDu/simhakaTi is an expression in literature. The lion is famed for its slim waist and hece women`s waists are compared to the lion`s waist)
narakaNThIrava manOramE- She Who pleases the mind of narasimha
(kaNThIrava is that which roars from the throat i.e lion. Here She pleases narasimha`s mind as a sister I guess unless this is another instance of equating lakShmI with pArvati)

namaka chamaka stOtra suprItE- She Who is pleased by stOtras/prayers such as namaka and camaka; SrI vidyE; sadAnamastE- Ever my salutations to you.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

One thing I forgot to mention in the meaning. kaNThIrava was a common birudu/ title used to glorify the oDeyars and hence this term could also be a reference to self and the oDeyar kings in general.
One other thing;- Often we take the comperes/commentators for granted(like the person who places the tamburi!). So let me not do it too. The compering in kannaDa by the lady before the presentation of each kRti is excellent. enriching and enlightening. The quotes she presents from various sources is great as is the choice of the words.

Coming to simhEndramadhyama, this is a well known and popular rAga.
(to the extent that in one rAmanavami season in Bangalore, everybody was singing this rAga as the main rAga and rAmarAma guNasIma as the main item! rAmarAma)

This is the 57th mEla and is called sumadyuti (with some viSEsa prayOgas) in MD`s school
Scale SR2G2M2PD1N3S* | S*NDPMGRS ||

R.R.Keshavamurthy mentions that G-D, M-N are vAdi- samvAdi pairs. R and N are the jIva and nyAsa swaras. Gives vira and adbhuta swaras and has great scope in the tAra sthAyi. The rAga Shines well at night.

Aptly for the rAga, the kRti starts on the RShabha note. The dhAtu is such that it brings out the meaning of bRhat and mahAdeva gloriously. The choice of words is also beautiful as they are consonant and involve a lot of soft vyanjanas-l and r particularly at word endings. antyaprAsa is used prfusely here. As coolkarni has already noted, Srikantan`s singing always enhances the beauty of a song.
I have heard several others sing the piece in concerts, all to good effect. Vid|| Seetalakshmi Venkatesan a very senior artiste has rendered this along with may others in a commercially released cassette. For the record, Vid|| Nagavalli Nagaraj has also released a double cassette of oDeyar`s kRtis.

kartik
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Post by kartik »

kartik_krish

Uploaded the other version of the same kriti which I was referring to.The chittaswaras are different.This seems to be Bombay sisters,though I am not sure.The recording is pathetic,and my apologies for that.

Here is the link-

http://rapidshare.de/files/3967425/Gundakriya.ra.html

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Wished to all on Indepenence Day. bhArat mAtA ki jai

Coolkarni
Is it holiday fo discussion as well? I thought it was a restricted holiday

cmlover
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Post by cmlover »

cmlover

I have a problem with the interpretation of
kuNDali mAlE
As you notice all the epithets are addressed in saMbOdhana (vocative), the question is whether this is one word 'kuNDalimAlE' or two separate words as written.
If it is one word then (unless there is a separate SriVidya connotation) the bahuvrIhi compound should be 'kuNDalinI mAlA yasyA sA kuNDalinImAlA (one who has the kuNDaliNI cosmic energy for a garland)' with the voative as stated. If it is the latter then the first word in vocative should be kuNDalini and the second is mAlE.

In either case with the reference to kuNDalinI the saahityam needs correction.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

CML
Thanks for expressing doubts. Indeed I had the same doubts. I think the 2 words should be taken independently. kuNDali is the same as kuNDalini and is an epithet of dEvi. mAlE has the same meaning as mAlini(sahasranAma)- One Who has the varNamAle as her garland or One Who is in the form of the varNamAle.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This is another anecdote connected with oDeyar (not musical).

Once odeyar went to a famous jOisaru(astrologer) in disguise and showed his palm asking him to read it. The jOis took a momentary glance at it and said "This is the hand of someone who will make a living by cutting and selling firewood". (idu kaTTige kaDidu mAruva kai). oDeyar was understandably taken aback but quietly went away. He then invited this jOis to the AsthAna as a king and asked him to read his palm. Again the jOis took a cursory glance at the hand and said "Have I not already said that this is the hand of a woodcutter". Everyone in the sabhe was shocked. The jOis then asked one of the palace attendants to bring some wax. Once this was brought, he proceeded to place it inside odeyar`s mouth and pressed it against the sides. He then took it out and showed the impressions of Sankha and cakra and remarked that it was these divine marks that had made oDeyar a king!!!

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

I am posting the next song
SrI lalitAm mahatripurasundarIm in nAgadhvani

http://rapidshare.de/files/4028042/Naga ... m.mp3.html

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This is the sAhitya

|| SrI lalitAm ||

rAga: nAgadhvani ; khaNDa tripuTatALa.

SrI lalitAm mahA tripura sundarIm bhajEham |
SrI rAjarAjESvarIm SrI vidyAtmaka bhuvanESvarIm ||P||

SrI cakrAntargata navAvaraNAvRtAm SankarIm |
SrI kESavAdi catvArImSat tattvanyAsa mAtRkESvarIm |
SrI bIjAkShara samupAsita mahESvarIm
SrI karIm EkAnta manOlayakarIm ||AP||

dUrvAsAdyarcita guptayOginIm|
dUrvAdi patra puSpArcana toShiNIm |
pUrvArjita puNya phala pradAyinIm |
pUrvAdi caturAmnAya madhyavartinIm |
SarvANIm SuMbha niSuMbha mahiShAsurAdi bhanjanIm nAgadhvani rAgiNIm ||C||

coolkarni

Post by coolkarni »

coolkarni
Iam posting the next song
SrI lalitAm mahatripurasundarIm in nAgadhvani
DRS.
am i off-duty for the remainder of the series??
just curious to know if your mp3 conversion is on.....

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

coolkarni
am just a locum/temp/substitute to keep the work going. A day without discussion seemed too long. You can takeover again now that you are back. No I still have no clue about mp3 conversion.The song I posted was one of those I had received a while ago from a friend of mine- Coolkarni!

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

DRS

sorry i was not in town for the last three days and missed out on your great job.

here is an anecdote on pAhimAM varalakshmi -in guMDukriya. after composing this kRuti, H.H. showed it to late thitte krishna iyengar for his comments. Late Asthan Vidwan being afraid to comment, little hesitatingly said that the beginning is not ideal and it could have been differrent. without getting offended HH immediately modified the sAMchara to the composition and in his own little voice sang the composition and sought the approval of the VidhvAN, which was very happily approved !

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

On mahabAdri hill:

you are right it is the ancient name of the chAmundi hill, before chamundesari became the titular kuladevatha of the oDeyars.

right next to the chamundi temple, there is another temple, which is the oldest and it is that of mahabalachala with a very beutiful shiva idol. sadly most visitors to the temple give a miss to this temple.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

On `Kantheeravaâ' being the biruDu (title)of the oDeyars:

More specifically, the word is synonymous with Ranadhhera Kantheerava Narasa Raja Wodeyar who ruled from srirangapatna between 1638-1659.He was one of the most celebrated and colorful rulers of the Wodeyar dynasty. It was his many exploits which gave him the title ranadheera. He was the first to establish mint and called the currency kantheerayi hana and pagoda, which stood the tests of time for a long long time. He also constructed the Ugra narasimha temple ( on the left side of the road leading to Ranganatha temple) in Srirangapatna. There is bhakti vigraha of this king is inside this temple.

In addition to this H.H. Jaya chamaraja Wodeyarâ??s father was himself named after his great ancestor and was known as Yuvaraja Kantheerava Narasimha Raja Wodeyar. In fact the sports stadium at Bangalore is named after him as Knatheerava Stadium.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

on your gut feeling about the timing of the composition:

shree oDeyar started his composition on 17-8-1945 ( incidentally 60 years ago !!) with `shree mahAgaNapathiM bhajEhaM' in rAga aThANa . shree raMganAtha pAhimAM in rAga kalyANa vasaMtha composed in 1947 is said to be his last composition.

for some one who never aspired to be a king in the first place ( by indian indpendence act 1935, Indian independence was a forgone conclusion, it was the world war which delayed the inevitable. Also it was only due to two untimely tragedies in 1940 - death of his father the yuvaraja and later his uncle maharaja nalvadi krishna raja wodeyar - that he became a king at a very early age ), the turn events in his life certainly took his toll. If after 1947 he did not compose any kRuti till 1974 tells its own story.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Raja Chandra
thanks for your kind and encouraging words as well as those anecdotes and bits of information. I also read your article on oDeyar in wikipedia (A fair version of what you wrote on the forumhub thread). It is a pleasure to have you in our midst.
As for the Siva temple on cAmuNdi beTTa, I could only have Siva's (bhOlenAth that he is) darSaNa this time when I was in Mysore as it was friday and also cAmuNDESvari`s huTTu habba(Birthday). She was not bhaktasulabhE this time around. Or perhaps Iam not a good enough bhakta. The second seems a more plausible explanation to me. However I earned some puNya by doing dAnadharma that day;- I donated the 2 tickets my wife and I had bought to someone who was being pulled in all directions in the queue.

Is it surprising that dEvi has usurped Her Lord`s fame too! This reminds me of one SlOka in saundaryalahari-

tvayA hRtvA vAmam vapuraparitRptEna manasA |
SarIrArdham SambhOraparam api SankE hRtamabhUt |
yadEtattvadrUpam sakalam aruNAbham trinayanam
kucAbhyAm Anamram kuTila SaSicUDAla makutam ||

(jagadguru Sankara describes how dEvi, disatisfied with having only half of Siva`s body, encroaches upon the other half as well!)

Coolkarni
Please post the next song while I discuss this one. There is atime gap between us and hence by the time I finish, you will be asleep and when you are ready, I shall be at work.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

I think this kRti specifically refers to the 2nd AvaraNa of the Sricakra. I present the meaning and explanation(as i understand it) in 2 parts due to sheer volume.

rAga: nAgadhvani ; khaNDa tripuTatALa.

SrI lalitAm mahA tripura sundarIm bhajEham|
SrI rAjarAjESvarIm SrI vidyAtmaka bhuvanESvarIm

I eulogise lalitA, mahAtripurasundari, srI, rAjarAjESvari, The queen of the 14 worlds Whose essence is/who is the essence of SrIvidyA.

SrI cakrAntargata navAvaraNAvRtAm SankarIm - That Sankari who is surrounded by te 9 AvaraNas within the SrIcakra.
SrI kESavAdi catvArImSat tattvanyAsa mAtRkESvarIm - Her that is the mistress of the 40 nyAsas (tattva nyAsas & mAtRkA nyAsas) including the kESava nyAsa.
The details of the 40 nyAsas are (I hope I am right. If others know better please correct me)
1 ) 14 +3 types of mAtRkA nyAsas(both antarmAtrkA and bahirmAtRkA)- bindu-, visarga-, binduvisarga-, hRllEkha-, bIjAdi-, kAmAdi-, tribIjAdi-, balasampuTita-, karasampuTita-, SrIvidyAyukta-, hamsa-, paramahamsa-, praNavakalA-, aShTatrimSatkalA- and also kESava-, SrIkanTha- & prapancayAga-. Please add mAtRka at the end of each. Note that the last 3 are special for some initiates into vaiShNava anga, Saiva anga and mahAgaNapati mantra respectively). As kESava is mentioned specially, oDeyar may have been initiated into this and is hence making this reference. Although catholic in approach, he was a vaiShNava and was from the yadu race And as all kings, was considered as a form of mahAviShNu himself. (Please also recall the marks of sankha and cakra inside his mouth which I mentioned earlier.)

2 ) karaSuddhi nyAsa
3 ) AtmarakShA- & balaShaDanga nyAsa
4 ) caturAsana (or ShaDAsana) nyAsa
5 ) antaScakra- & bahiScakra nyasa
6 ) mahAkAmESvaryAdi nyAsa
7 ) mUla vidyA varNa nyAsa
8 )6 laghu SOdha(?ShODa?) nyasa_ gaNESa-, graha-, nakShatra-,yOginI-, rASi-, pITha-nyAsas.
9 ) 6 mahA SOdha(ShODa?) nyasa_ prapanca-, mUrti-, bhuvana-, mantra-, daivata-, mAtRkA bhairava- nyAsas.
10 ) 3 SrIcakra nyAsas- sRShTi-, sthiti-, samhAra- nyAsas.

SrI bIjAkShara samupAsita mahESvarIm- The Regina That is worshipped by the bIjAkShara "SrIm"
(SrIm is what has given the mantra its name. It is particularly associated with the lakShmI tattva)SrI karIm -Her That does all good/auspicious.
EkAnta manOlayakarIm - Her that makes the mind lose itself in itself (become introspective as a step towards self-realization).

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Part 2 of meaning and explanations for nAgadhvani kRti

dUrvAsAdyarcita guptayOginIm- The guptayOgini That was worshipped by dUrvAsa et al.
dUrvAsa was a notable follower of kadi mata propounded by manmatha.
This line is identical to the line from MD`s kalyANi navAvaraNa kRti.
The cit Sakti that has all viShaya vRttis/thoughts &functions of the dream state as its attributes is called guptayOgini. dUrvAdi patra puSpArcana toShiNIm |
pUrvArjita puNya phala pradAyinIm - Her that gives the fruits of all past deed.
pUrvAdi caturAmnAya madhyavartinIm - Her that resides/traverses amidst/betwixt the 4 AmnAyas
(this refers to the 4 maThas established by SankarAcArya at pUri(pUrva), dvArakA(paScima), jyOthirmaTha (uttara) & SRngEri(dakShiNa). AmnAya literally means vEdas. SankarAcArya is said to have assigned one of the four vedas to each of these mathas. Accordingly, the pUri maTha is associated with the Rg vEda, SRngEri with yajurvEda, dvArakA with sAma veda and jyOtirmaTha with atharva vEda. Also note that the daSanAmas -10 name suffixes (bhArati, sarasvati, giri, etc) attached to sanyAsis of this order are only nominally distributed among the 4 maThas. The sanyAsis themselves are strictly not attached to anyone and are expected to be travelling between the 4 except during the cAturmasya(rainy season). dEvi likewise is not attached to any one maTha.)

SarvANIm- Wife of Sarva(Siva); SuMbha niSuMbha mahiShAsurAdi bhanjanIm-Her that vanquished Sumba, niSumba, mahiShAsura et al. nAgadhvani rAgiNIm- Her that takes pleasure in nAgadhvani
This could be interpreted as the rAga or as the sound of nAga naga can mean snake or elephant among other things. If lakShmI tattva is being eulogized here, nAga meaning elephant would be appropriate as lakShmI is often portrayed as flanked by elephants. Also it seems apt to describe sarvASA paripUraNi as lakShmI(One Who bestows all that is desired)

The 2nd AvaraNa represents the life`s dream state, sUkShma SarIra and all experiences gained in it. It is called the sarvASA paripUraka cakra meaning the AvaraNa that fulfils all desires/wants. It is equated to the viSuddha cakra. The presiding deity is tripurESi. This AvaraNa has 16 daLas/petals representing 5 prANa , 5 jnAnEndriya, 5 karmEndriya+ manass. It also represents the 16 AkarShiNi- kAma, buddhi, ahamkAra, Sabda, sparSha, rUpa, rasa, gandha, citta, dhairya, sthairya, nAma, bIja, Atma, amRta, SarIra. (please add AkarShiNi at the end of each one)

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