M.D. Ramanathan (MDR)
Taking of from the Varna thread where MDRs compositions were discussed , I have just uploaded a krithi-Mangalacharane mamava-i remember having recorded it from AIR bhadravathi, though I am not sure.
nnramya
many thanks for the compilation of his kritis.
we can try and bring out as many as possible from this hit list.
uploaders please mail the clip to meena -with a post here-who will send it to the X drive.
Hope this will add to our understanding of this artist.
I have copied the post giving the compilations , for convenience
Aparadhamulellanu Gowrimanhohari Aadi
Bhaja Bhaja Manuja Behag Aadi
Bharatesanute Arabhi Misra Chapu
Brindavanaloka Kalyani Aadi
Brochudaku Samayaide Begada Rupaka
Dandapani Ramapriya Rupaka
Dari Neevale Begada Rupaka
Dharmavathi Dharmavathi Rupaka
Durgadevi Sri Aadi
Emdukichapalamu Purvikalyani Aadi
Ennakutram cheideno Huseni Aadi
Gajavadana Hamsadhwani Rupaka
Gurucharanam Kannada Aadi
Guruvaram Bhaja Manasa Dhanyasi Rupakam
Hariyum Haranam Atana Rupakam
Innamum Begada Aadi
Jagadambike Kedaram Rupakam
Janani Natajanapalini Sankarabharanam Misra Chapu
Jaya Jaya Sri Vasanta Triputa
Kamalakshi Sankarabharanam Jhampa
Kanda unakkinda Thodi Aadi
Krishnananda Mukunda Kharaharapriya Misra Chapu
Lalithe Natakurinji Misra Chapu
Mahadeva Abhogi Aadi
Manamai Ramanai Sindhu Bhairavi Misra Chapu
Manasa Sriramuni Bhupalam Aadi
Mayamma Ranjani Rupakam
Narayananenru Sollu Desh Misra Chapu
Neepadamula Nera Nammiti Chakravakam Jhampa
Neranammina Anandabhairavi Misra Chapu
Neranamminanura Hamsadhwani Aadi
Nivale Daivamu Yadukula Kambhoji Misra Chapu
Nivamti Dhaivamu Kapi Aadi
Nive Dinarakshakudu Devagandhari Aadi
Padasaroja Mukhari Aadi
Padasaroja Saveri Aadi
Padayugamunu Janaranjani Aadi
Paduvom Parandham Purnachandrika Aadi
Palaya Mam Begada Rupakam
Palayamam Ritigowla Aadi
Parakelanayya Mohana Tisra Laghu
Parthasarathe Surutti Rupakam
Parvathi Parameswaram Natai Aadi
Pavana Rama Atana Rupakam
Purnatrayesa Purnachandrika Aadi
Raghuvara Bilahari Aadi
Rama Raghava Thodi Rupakam
Rama Rama Nilambari Aadi
Ramam bhaja Arabhi Aadi
Sagara Sayana Vibho Bagesri Aadi
Saketanatham Bhaje Kamavardhani Khanda Chapu
Sami Ninne Kori (Varnam) Ranjani Aadi
Sankaram Sankarabharanam Rupakam
Sarasijamukha Yadukula Kambhoji Aadi
Sitamanohara Kanada Aadi
Sri Ramadutam Darbar Aadi
Sri Valmikapuravesa Sama Aadi
Sriguruvaram Hamsadhwani Rupakam
Srimohana Rama Mohana Rupakam
Stanumalayum Kambhoji Aadi
Sundaramurthini Natakurinji Rupakam
Thyagarajagurumasraye Kedaram Aadi
Tillana Bilahari Aadi
Tillana Kapi Triputa
Tillana Kadanakuthoohalam Aadi
Tillana Sindhu Bhairavi Aadi
Velavane Sahana Aadi
Venkatesa Girisa Madhyamavathi Aadi
Vighnaraja Sri Ranjani Aadi
Vinave Gowla
nnramya
many thanks for the compilation of his kritis.
we can try and bring out as many as possible from this hit list.
uploaders please mail the clip to meena -with a post here-who will send it to the X drive.
Hope this will add to our understanding of this artist.
I have copied the post giving the compilations , for convenience
Aparadhamulellanu Gowrimanhohari Aadi
Bhaja Bhaja Manuja Behag Aadi
Bharatesanute Arabhi Misra Chapu
Brindavanaloka Kalyani Aadi
Brochudaku Samayaide Begada Rupaka
Dandapani Ramapriya Rupaka
Dari Neevale Begada Rupaka
Dharmavathi Dharmavathi Rupaka
Durgadevi Sri Aadi
Emdukichapalamu Purvikalyani Aadi
Ennakutram cheideno Huseni Aadi
Gajavadana Hamsadhwani Rupaka
Gurucharanam Kannada Aadi
Guruvaram Bhaja Manasa Dhanyasi Rupakam
Hariyum Haranam Atana Rupakam
Innamum Begada Aadi
Jagadambike Kedaram Rupakam
Janani Natajanapalini Sankarabharanam Misra Chapu
Jaya Jaya Sri Vasanta Triputa
Kamalakshi Sankarabharanam Jhampa
Kanda unakkinda Thodi Aadi
Krishnananda Mukunda Kharaharapriya Misra Chapu
Lalithe Natakurinji Misra Chapu
Mahadeva Abhogi Aadi
Manamai Ramanai Sindhu Bhairavi Misra Chapu
Manasa Sriramuni Bhupalam Aadi
Mayamma Ranjani Rupakam
Narayananenru Sollu Desh Misra Chapu
Neepadamula Nera Nammiti Chakravakam Jhampa
Neranammina Anandabhairavi Misra Chapu
Neranamminanura Hamsadhwani Aadi
Nivale Daivamu Yadukula Kambhoji Misra Chapu
Nivamti Dhaivamu Kapi Aadi
Nive Dinarakshakudu Devagandhari Aadi
Padasaroja Mukhari Aadi
Padasaroja Saveri Aadi
Padayugamunu Janaranjani Aadi
Paduvom Parandham Purnachandrika Aadi
Palaya Mam Begada Rupakam
Palayamam Ritigowla Aadi
Parakelanayya Mohana Tisra Laghu
Parthasarathe Surutti Rupakam
Parvathi Parameswaram Natai Aadi
Pavana Rama Atana Rupakam
Purnatrayesa Purnachandrika Aadi
Raghuvara Bilahari Aadi
Rama Raghava Thodi Rupakam
Rama Rama Nilambari Aadi
Ramam bhaja Arabhi Aadi
Sagara Sayana Vibho Bagesri Aadi
Saketanatham Bhaje Kamavardhani Khanda Chapu
Sami Ninne Kori (Varnam) Ranjani Aadi
Sankaram Sankarabharanam Rupakam
Sarasijamukha Yadukula Kambhoji Aadi
Sitamanohara Kanada Aadi
Sri Ramadutam Darbar Aadi
Sri Valmikapuravesa Sama Aadi
Sriguruvaram Hamsadhwani Rupakam
Srimohana Rama Mohana Rupakam
Stanumalayum Kambhoji Aadi
Sundaramurthini Natakurinji Rupakam
Thyagarajagurumasraye Kedaram Aadi
Tillana Bilahari Aadi
Tillana Kapi Triputa
Tillana Kadanakuthoohalam Aadi
Tillana Sindhu Bhairavi Aadi
Velavane Sahana Aadi
Venkatesa Girisa Madhyamavathi Aadi
Vighnaraja Sri Ranjani Aadi
Vinave Gowla
here is the second list posted by meena.thanks again
Gajavadana Maam Paahi - Hamsadhwani
Vighnaraja - Sriranjani
Gajaanana - Todi
Mangalacharane - Hindolam
Subrahmanyam Bhajare - Hindolam
Thyaagaraaja Gurum - Kedaaram
Saagarashayana - Baageshri
Innamum Ee Chalama - Begada
Janani Natajanapaalini - Shankarabharanam
Paraakela - Mohanam
Naamkeerthaname - Bilahari
Sree Chaamundeshwari - Bilahari
Maathanga Tanaye - Punnagavaraali
Paadayugamu - Janaranjani
Neevanti Daivamu - Kaapi
Manasa Sree Rama - Bhowli
Ennakutram - Huseni
Neevale Daivamu - Yadukula Kaambhoji
Hariyum Haranum Onre Endru - Ataana
Velavane Unakku - Sahaana
Maayamma - Ranjani
Raama Raama – Neelaambari
Maname – Sindhubhairavi
Nandagopa – Kaapi
Saraswati - Khamaas
Va Va Muruga - Kaapi
Gurucharanam - Kannada
Tillaana - Kaapi
Tillaana - Kaanada
Tillaana - Ranjani
Tillaana - Kadanakutuhalam
Tillaana - Hindolam
Tillaana - Behag
Tillaana – Sindhubhairavi
Gajavadana Maam Paahi - Hamsadhwani
Vighnaraja - Sriranjani
Gajaanana - Todi
Mangalacharane - Hindolam
Subrahmanyam Bhajare - Hindolam
Thyaagaraaja Gurum - Kedaaram
Saagarashayana - Baageshri
Innamum Ee Chalama - Begada
Janani Natajanapaalini - Shankarabharanam
Paraakela - Mohanam
Naamkeerthaname - Bilahari
Sree Chaamundeshwari - Bilahari
Maathanga Tanaye - Punnagavaraali
Paadayugamu - Janaranjani
Neevanti Daivamu - Kaapi
Manasa Sree Rama - Bhowli
Ennakutram - Huseni
Neevale Daivamu - Yadukula Kaambhoji
Hariyum Haranum Onre Endru - Ataana
Velavane Unakku - Sahaana
Maayamma - Ranjani
Raama Raama – Neelaambari
Maname – Sindhubhairavi
Nandagopa – Kaapi
Saraswati - Khamaas
Va Va Muruga - Kaapi
Gurucharanam - Kannada
Tillaana - Kaapi
Tillaana - Kaanada
Tillaana - Ranjani
Tillaana - Kadanakutuhalam
Tillaana - Hindolam
Tillaana - Behag
Tillaana – Sindhubhairavi
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reposting from varnams thread
Lyrics of mdr's composition mangaLa caraNE in hindOLam
mangaLa caraNE - hindOLam - Adi - tamil
P: maNgaLa caraNE mAmava satatam mAmadurai vAzh mInAkshamma
A: sanga rahitE un tAL santatam pORRinEn sAmagAna vinOdini mAnini
C: u~ndan sannidi vandEn uLLam urugit tozha
va~ndiraiyaik kaNDEn vAnam veDittARpOla
minnal vEgamadil marugiDac ceydAyE
mahimai sollat taramA varadadAsan pORRum
corrections if any are welcome
Lyrics of mdr's composition mangaLa caraNE in hindOLam
mangaLa caraNE - hindOLam - Adi - tamil
P: maNgaLa caraNE mAmava satatam mAmadurai vAzh mInAkshamma
A: sanga rahitE un tAL santatam pORRinEn sAmagAna vinOdini mAnini
C: u~ndan sannidi vandEn uLLam urugit tozha
va~ndiraiyaik kaNDEn vAnam veDittARpOla
minnal vEgamadil marugiDac ceydAyE
mahimai sollat taramA varadadAsan pORRum
corrections if any are welcome
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mangaLa caraNE - hindOLam - Adi - tamil
P: maNgaLa caraNE mAmava satatam mAmadurai vAzh mInAkshamma
A: sanga rahitE un tAL santatam pORRinEn sAmagAna vinOdini mAnini
C: u~ndan sannidi vandEn uLLam urugit tozha
va~ndiraiyaik kaNDEn vAnam veDittARpOla
minnal vEgamadil marugiDac ceydAyE
mahimai sollat taramA varadadAsan pORRum
This kriti is a sort of maNipravaaLaM with sanskrit and Tamil. Just listen to the Lecdem on Koteeswara Iyer where the need for sanskritizing Tamil is discussed. Here is the meaning
Pallavi
Hey mInaakShi who lives in the grand Madurai, who has auspicious feet please protect me always.
Anupallavi
You the one free of any associations! I always adore your feet! you the one who is amused with saamagaanaM and you who is highly respected!
CharaNaM
I came to your parlor to pay obeisance with a molten heart, and when I came to see the divine you, as though the sky exploded there was a flash by which you caused me to wonder. is it possible to describe your glories which 'varada dAsan' venerates...
P: maNgaLa caraNE mAmava satatam mAmadurai vAzh mInAkshamma
A: sanga rahitE un tAL santatam pORRinEn sAmagAna vinOdini mAnini
C: u~ndan sannidi vandEn uLLam urugit tozha
va~ndiraiyaik kaNDEn vAnam veDittARpOla
minnal vEgamadil marugiDac ceydAyE
mahimai sollat taramA varadadAsan pORRum
This kriti is a sort of maNipravaaLaM with sanskrit and Tamil. Just listen to the Lecdem on Koteeswara Iyer where the need for sanskritizing Tamil is discussed. Here is the meaning
Pallavi
Hey mInaakShi who lives in the grand Madurai, who has auspicious feet please protect me always.
Anupallavi
You the one free of any associations! I always adore your feet! you the one who is amused with saamagaanaM and you who is highly respected!
CharaNaM
I came to your parlor to pay obeisance with a molten heart, and when I came to see the divine you, as though the sky exploded there was a flash by which you caused me to wonder. is it possible to describe your glories which 'varada dAsan' venerates...
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cml
thanks to subramanianji.
Heard the same from divakarji its NOT mdr viruttam
Divakarji has taken the trouble of 'googling' the text/meaning
DELETED
this is the viruttam that he sings:
naratvaM devatvaM nagavanamR^igatvaM mashakataa
pashutvaM kiiTatvaM bhavatu vihagatvaadi jananam.h
sadaa tvat.h paadaabja smaraNa paramaananda laharii
vihaaraasaktaM ched.hdhR^idayamiha kiM tena vapushha
one more link.
DELETED
its the 10th sloka of sivanandalahari
cml be prepared to provide us the meaning/text for next viruttam if anyone u/l
thanks to subramanianji.
Heard the same from divakarji its NOT mdr viruttam
Divakarji has taken the trouble of 'googling' the text/meaning
DELETED
this is the viruttam that he sings:
naratvaM devatvaM nagavanamR^igatvaM mashakataa
pashutvaM kiiTatvaM bhavatu vihagatvaadi jananam.h
sadaa tvat.h paadaabja smaraNa paramaananda laharii
vihaaraasaktaM ched.hdhR^idayamiha kiM tena vapushha
one more link.
DELETED
its the 10th sloka of sivanandalahari
cml be prepared to provide us the meaning/text for next viruttam if anyone u/l
Last edited by meena on 07 May 2008, 03:07, edited 1 time in total.
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a couple of compositions (among many other gems) of the maestro - sung by himself - can be found on this page
http://www.sawf.org/newedit/edit05132002/musicarts1.asp
Janaranjani - pada yugamunu
Ranjani - mAyammA
it is well known that sri kvn has immortalised the bhAgesrI krthi - sAgara shayana vibhO. one can hear a supreme rendition of one maestro's composition by another here
http://www.sawf.org/newedit/edit12022002/musicarts.asp
wonder if sri mdr himself would have sung this song with such an effect (i havent heard his rendition). and very aptly, the rasika sikhAmaNi sri Rajan Parrikar has used this rendition among other pieces to demonstrate rAga lakshaNas for bhAgesrI.
regards
http://www.sawf.org/newedit/edit05132002/musicarts1.asp
Janaranjani - pada yugamunu
Ranjani - mAyammA
it is well known that sri kvn has immortalised the bhAgesrI krthi - sAgara shayana vibhO. one can hear a supreme rendition of one maestro's composition by another here
http://www.sawf.org/newedit/edit12022002/musicarts.asp
wonder if sri mdr himself would have sung this song with such an effect (i havent heard his rendition). and very aptly, the rasika sikhAmaNi sri Rajan Parrikar has used this rendition among other pieces to demonstrate rAga lakshaNas for bhAgesrI.
regards
inconwonder if sri mdr himself would have sung this song with such an effect (i havent heard his rendition).
here is a rendering my mdr himself
http://rapidshare.de/files/3066040/09._ ... I.mp3.html
also ' velavane' in sahana
http://rapidshare.de/files/3066239/12_VELAVANE.MP3.html
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Of course I mentioned about Tiger chewing up other's saahityam into mince meat . Here we have MDR hippO reurgitating his own saahitya into a pulp. It is impossible to recover even the very first line and I do not want to post 'my guess' :cheesy:
Unless Lakshman or somebody reovers from the source this one is for the birds
But undoubtedly it is sahaana with MDR signature!
Unless Lakshman or somebody reovers from the source this one is for the birds
But undoubtedly it is sahaana with MDR signature!
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I agree with you that it is an effort to figure out the words from the rendition. Here is my best effort.
vElavanE umakku. rAgA: shahAnA. Adi tALA.
P: vElavanE umakku mElaiyAnOr pOTrum yAvarum uriyAdu singAra rasamaLikkum shrI
A: bAlasubramaNya (shrI) pArvati bAlanE paramEshan tanakku upadEsham sheidOnE
C: anroru kurattiyai maNattAyE nIyum shenroru ???? shuTrinAyE
inru kOrum enru kuzhaivAga AdinAi yAn onru teriyAda SaNmukha dEvanE
vElavanE umakku. rAgA: shahAnA. Adi tALA.
P: vElavanE umakku mElaiyAnOr pOTrum yAvarum uriyAdu singAra rasamaLikkum shrI
A: bAlasubramaNya (shrI) pArvati bAlanE paramEshan tanakku upadEsham sheidOnE
C: anroru kurattiyai maNattAyE nIyum shenroru ???? shuTrinAyE
inru kOrum enru kuzhaivAga AdinAi yAn onru teriyAda SaNmukha dEvanE
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Pallavi:
vElavanE umakku vElai enAvO sOllu
jAllangaL seiyAde .. singAra vaDi (vElavanE)
Anupallavi:
bAlasubramaNiya (SrI) pArvati bAlanE
paramESan tanakku upadESam SeidOnE (SeidavanE)
caraNam 1:
aNDroru kurattiyai maNandAyE nI
mUnDru lOkaNgaLai mayilmEl SuTrinAyE
kuNDru tOrum SenDru kuzhaivAga ADinAyE (oru)
shAndronDrum teriyEnE shaNmukha dEvanE
caraNam2:
ArAda tuyarattai ATravallavO nIyum
Arumugam taNaiamaittukonDAyE
tArumArAga unnAi tudi sEidEnE
tAmadAmEno.(Adi) varadadAsan pOtrum ..
I have uploaded this piece from early 60's concert in one Shanmukhananda Concert in Mumbai.
http://s22.yousendit.com/d.aspx?id=2JVQ ... 9ZXOBRR1AA
In one Academy Concert during the last few years of his life, he sings this kriti. In that Charanam line (mayil mEl sutrinAyE)..
he mentions "ippo adhukelam avasiyam illai Satellite vandachu".
Balaji
vElavanE umakku vElai enAvO sOllu
jAllangaL seiyAde .. singAra vaDi (vElavanE)
Anupallavi:
bAlasubramaNiya (SrI) pArvati bAlanE
paramESan tanakku upadESam SeidOnE (SeidavanE)
caraNam 1:
aNDroru kurattiyai maNandAyE nI
mUnDru lOkaNgaLai mayilmEl SuTrinAyE
kuNDru tOrum SenDru kuzhaivAga ADinAyE (oru)
shAndronDrum teriyEnE shaNmukha dEvanE
caraNam2:
ArAda tuyarattai ATravallavO nIyum
Arumugam taNaiamaittukonDAyE
tArumArAga unnAi tudi sEidEnE
tAmadAmEno.(Adi) varadadAsan pOtrum ..
I have uploaded this piece from early 60's concert in one Shanmukhananda Concert in Mumbai.
http://s22.yousendit.com/d.aspx?id=2JVQ ... 9ZXOBRR1AA
In one Academy Concert during the last few years of his life, he sings this kriti. In that Charanam line (mayil mEl sutrinAyE)..
he mentions "ippo adhukelam avasiyam illai Satellite vandachu".
Balaji
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mangaLa caraNE - hindOLam - Adi - Manipravalam
P: maNgaLa caraNE mAmava satatam
mAmadurai vAzh mInAkshamma
A: sanga rahitE un daivAL santatam pORRinEn
sAmagAna vinOdini mAnini
C: undan sannidi vandEn uLLam urugit tozha
vanthiraiyai kanDen vAnam veDittALpOle
minnal vEgamadil maguzhinDa ceydAyE
mahimai solla taramA varadadAsan pORRum
un dAivAl - through/with your grace
vanthiraiyai kanDen - i saw a screen
There is a story behind this composition. Apparently, after a concert in Madurai, he had gone to visit the Meenakshi Temple, but since it was late, they had closed the temple. Fortunately, one temple administrator spotted my father and specially opened the temple for him to have darshan. (That is why in charanam he mentions vanthirayai kanden....)
On the return train journey he composed this kriti, & Lalgudi Jayaraman, who was accompanying him wrote down the Sahithyam as my father composed.
P: maNgaLa caraNE mAmava satatam
mAmadurai vAzh mInAkshamma
A: sanga rahitE un daivAL santatam pORRinEn
sAmagAna vinOdini mAnini
C: undan sannidi vandEn uLLam urugit tozha
vanthiraiyai kanDen vAnam veDittALpOle
minnal vEgamadil maguzhinDa ceydAyE
mahimai solla taramA varadadAsan pORRum
un dAivAl - through/with your grace
vanthiraiyai kanDen - i saw a screen
There is a story behind this composition. Apparently, after a concert in Madurai, he had gone to visit the Meenakshi Temple, but since it was late, they had closed the temple. Fortunately, one temple administrator spotted my father and specially opened the temple for him to have darshan. (That is why in charanam he mentions vanthirayai kanden....)
On the return train journey he composed this kriti, & Lalgudi Jayaraman, who was accompanying him wrote down the Sahithyam as my father composed.
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A big WELCOME to you Balaji from all of us and especially our coterie of MDR Fans.
Thanks for the lyrics and the interesting anecdote regarding the mInakShi temple. I was struggling to translate 'va~ndirayai' but now the thick screen (vaN thirai) makes it more meaningful. Pl continue to help us in understanding more of MDR music and of MDR whom many of us consider the patron saint of CM!
Thanks LakShman for really trying! I didn't get half that far
Thanks for the lyrics and the interesting anecdote regarding the mInakShi temple. I was struggling to translate 'va~ndirayai' but now the thick screen (vaN thirai) makes it more meaningful. Pl continue to help us in understanding more of MDR music and of MDR whom many of us consider the patron saint of CM!
Thanks LakShman for really trying! I didn't get half that far
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- Joined: 21 May 2005, 13:57
Sir balaji
Welcome back!
Thank u for sharing with us the Madurai incident and for the lyrics/clip.
Very creative and extraordinary person he was
Welcome back!
Thank u for sharing with us the Madurai incident and for the lyrics/clip.
Very creative and extraordinary person he was
The many dimensions of MDR
V. JAYARAMAN
MDR firmly believed that Carnatic music should give emotional satisfaction, instead of being merely an intellectual exercise.
M. D. Ramanathan
M. D. Ramanathan was engrossed in the singing of one of his own compositions, "Ramanai maravaadiru maname." In the next sequence he sang, "Jayaramanai Sivaramanai maravaadiru maname," there was a ripple among the audience as his accompanists that evening were Lalgudi Jayaraman and Umayalpuram Sivaraman. That was MDR with his subtle humour.
Accused of a lack of seriousness and levity in the enunciation of a kriti, this disciple of Tiger Varadachari had realised early in his career that language was only a vehicle for musical expression and the focus should be on Varnamattu or the score of a composition. The quintessence of the raga was projected, with its complexion in full view. He firmly believed that Carnatic music should give emotional satisfaction, instead of being merely an intellectual exercise.
Tough accompanists
MDR had to contend with the audacity of the accompanists. Once in Thrissur the maestro elaborated Khambodi in his customary style and as the violinist was about to take over, MDR began the sahitya, "Evari Maatta," surprising the violinist and the listeners alike. The young violinist put the violin and the bow down in a huff. Soon the maestro realised the mistake and apologised. But the violinist sulked all through the concert. When a few from the audience pointed out the brazenness of the accompanist, MDR said that being old meant forbearance too.
MDR was in his element when singing for one of the annual festivals at the Sree Poornathrayeesa temple. `Upachaaramu" in Bhairavi, "Giripainela" in Sahana, etc., were the chosen kritis. The festival crowd, more concerned with his mannerisms than with the ascetic repose with which he sang, started toying with the balloons which popped off intermittently. The veteran appealed to the audience to pay attention. When they did not he wrapped up the concert. Later he said he could not bring himself to believe that such a thing was happening in a place like Tripunithura. In a similar situation Sathur Subramaniam had come down on the audience heavily, asking the noisy to clear out at once.
Passion for cricket
MDR had a passion for cricket and there are a few contemporaries at the Victoria College of Palakkad, who have seen him wielding the willow. They remember him practising at the nets and especially recall the way he would tie his hair in a `tuft' after each stroke. Bouquets and brickbats, he took in his stride. Even the denial of Sangita Kalanidhi did not worry him. There were critics who mocked at his style and eminent percussionists looking askance at him for his low pitch or `Thaggu' sruti. But he never quarrelled with them.
Memorial concert
The 83rd birthday of MDR was commemorated by his admirers at Rugmini Kalyanamandapam of Tripunithura, Kerala, recently. A vocal concert featuring compositions, exclusively of MDR's, was presented by Sanjay Subrahmanaiam. Sanjay was able to invest the kritis with individuality that abounded in repose and poise. The large audience remained entranced by erudition, melody and method.
``Kedaram," a book written by Krishna Moorthy, an ardent fan of MDR was released by Sanjay Subrahmaniam.
Last edited by meena on 07 May 2008, 03:07, edited 1 time in total.
Two more compositions sung by mdr..
http://rapidshare.de/files/3104620/MDRc ... m.MP3.html
http://rapidshare.de/files/3104979/05._ ... m.mp3.html
http://rapidshare.de/files/3104620/MDRc ... m.MP3.html
http://rapidshare.de/files/3104979/05._ ... m.mp3.html
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'uruppadi' is much more than the lyric itself. A musician takes the lyric polishes it, embellishes it, ornaments it and then presents it as a finished product to the Rasikas. It is just like a goldsmith who takes the raw gold, melts it, beats it and converts it into a fine ornament (uruppadi). Here with MDR's rendering we have the finished product and the lyrics are just the means to an understanding by us lay Rasikas.
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manasA SrI rAmuni - bhUpAlam - Adi - telugu
P: manasA SrI rAmuni maravakayE madihIna janulavale nIvu
A: dinakara kOTi prakASuni dinakara (kula) vamSa bhUshaNuni
dAnavAkhila samhAruni dayA sudhA sAgaruni dina dinamu
C: sItA lakshmaNa bharata ripughna vAtAtmajAdulato velayu
sAkEtAdhipa rAja rAjeSvaruni varada varadadAsa vinutuni O
P: manasA SrI rAmuni maravakayE madihIna janulavale nIvu
A: dinakara kOTi prakASuni dinakara (kula) vamSa bhUshaNuni
dAnavAkhila samhAruni dayA sudhA sAgaruni dina dinamu
C: sItA lakshmaNa bharata ripughna vAtAtmajAdulato velayu
sAkEtAdhipa rAja rAjeSvaruni varada varadadAsa vinutuni O
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thanks again Divaakar!
Shows what a scholar he was in all languages! Do we know why his compositions were not sung by other performers.
Balaji
Could you share with us your memories about his teaching methods and his sishyas(?) ? Did he compose these songs after visiting certain temples or just in privacy? If you are reserving these recollections for the site you are creating , please hold back and we understand!
Shows what a scholar he was in all languages! Do we know why his compositions were not sung by other performers.
Balaji
Could you share with us your memories about his teaching methods and his sishyas(?) ? Did he compose these songs after visiting certain temples or just in privacy? If you are reserving these recollections for the site you are creating , please hold back and we understand!
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cmlover,
As of now i have not planned to put any personal memories in the web page.Personally, it is really a hard exercise for me to bring all the wonderful memories that i have & express it in an organized manner.
On the other hand,i feel more comfortable to answer specific questions like the one you posted.
From what i heard, most of his disciples (from Kalakshetra), have pursued their careers as Music teachers and most of them felt that they remembered everything my father taught, & felt very comfortable in creative expressions like composing.
I have seen a personal video in which he teaches "Mamava Meenakshi" (Varali) He emphasizes on the Varali Madhyam and demonstrates how Thiagaraja and Dikshitar highlighted the "Varali Madhyamam" in their compositions. He also teaches Kalyani varanam and shows how some swara prayogas are commonly used in all major compositions (he starts from KamalajAsana geetham, sings it with full of azhutham, and shows few similar prayogas in the Varnam & the correlation with other trinity compositions)
I have heard, that the "student" should be of a real advanced stage & should be highly motivated to grasp his ideas. He was looking for someone like him, as how he learnt from Shri.Tiger. It never used to be just a kriti, ragam or neraval...infact some students have told me that he used to interlink various stories, humorous anecdotes & spiritual thoughts with the music lesson.
I was fortunate to learn few kritis under him & my case was exceptional, as he used to be patient and repeat the sangthis few times. But i was a restless naughty kid, who didn't have the patience then(REGRETS!!!).But i used to test his patience...(very dangerous!!)
When i recollect now, i could clearly see that he never forced music in me, but created a wonderful ambience which would facilitate such an interest. For instance, when there used to be power-failures at home, he used to sing a ragam, and there will be a quiz between my mom and me. He never forced music on anyone, but was ready to share/teach his ideas with anyone who came with interest. I remember during the last few months, a french violinist came to learn under my dad, and my dad was impressed with his dedication & interest. Inspite of his poor health, he taught him for few months.
Regarding his compositions, i am not too sure. It is a combination of both circumstances and creative urges. He has composed on other "trivial" daily activities like "how to make a coffee", "how to eat a Mango", "My horoscope", "My school" etc..
Another aspect about his teaching that i suddenly remembered, he strongly prohibited any of his students taking notes/notations. In fact, one local teacher was arranged to teach me all the sarali varusais and she had asked me to buy the "Ganamrutha Bodhini"; He wrote in the book in the opening page "kAdhAl kEtu pAdanum sangeetham, pustakam vaitu pAdum nilai paridAbam"
pardon my lenthy reply..
As of now i have not planned to put any personal memories in the web page.Personally, it is really a hard exercise for me to bring all the wonderful memories that i have & express it in an organized manner.
On the other hand,i feel more comfortable to answer specific questions like the one you posted.
From what i heard, most of his disciples (from Kalakshetra), have pursued their careers as Music teachers and most of them felt that they remembered everything my father taught, & felt very comfortable in creative expressions like composing.
I have seen a personal video in which he teaches "Mamava Meenakshi" (Varali) He emphasizes on the Varali Madhyam and demonstrates how Thiagaraja and Dikshitar highlighted the "Varali Madhyamam" in their compositions. He also teaches Kalyani varanam and shows how some swara prayogas are commonly used in all major compositions (he starts from KamalajAsana geetham, sings it with full of azhutham, and shows few similar prayogas in the Varnam & the correlation with other trinity compositions)
I have heard, that the "student" should be of a real advanced stage & should be highly motivated to grasp his ideas. He was looking for someone like him, as how he learnt from Shri.Tiger. It never used to be just a kriti, ragam or neraval...infact some students have told me that he used to interlink various stories, humorous anecdotes & spiritual thoughts with the music lesson.
I was fortunate to learn few kritis under him & my case was exceptional, as he used to be patient and repeat the sangthis few times. But i was a restless naughty kid, who didn't have the patience then(REGRETS!!!).But i used to test his patience...(very dangerous!!)
When i recollect now, i could clearly see that he never forced music in me, but created a wonderful ambience which would facilitate such an interest. For instance, when there used to be power-failures at home, he used to sing a ragam, and there will be a quiz between my mom and me. He never forced music on anyone, but was ready to share/teach his ideas with anyone who came with interest. I remember during the last few months, a french violinist came to learn under my dad, and my dad was impressed with his dedication & interest. Inspite of his poor health, he taught him for few months.
Regarding his compositions, i am not too sure. It is a combination of both circumstances and creative urges. He has composed on other "trivial" daily activities like "how to make a coffee", "how to eat a Mango", "My horoscope", "My school" etc..
Another aspect about his teaching that i suddenly remembered, he strongly prohibited any of his students taking notes/notations. In fact, one local teacher was arranged to teach me all the sarali varusais and she had asked me to buy the "Ganamrutha Bodhini"; He wrote in the book in the opening page "kAdhAl kEtu pAdanum sangeetham, pustakam vaitu pAdum nilai paridAbam"
pardon my lenthy reply..
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Thank you very much! This is indeed a treat. I am sure you will be inundated with questions by the myriads of MDR-Worshippers here. It is interesting (I have also heard it before) his forbidding note-taking. Of course he had a prodigious memory! It is sad we do not have 'The sishya' to carry the torch
He has real feeling when he sings since he understands the lyrics thoroughly. Did he have a favourite raga (which the family know better)? How did he compose? Is it more inspirational or careful crafting? I do not want to infringe on your time too much. These are not idle curiosity but arise from listening to him over the years. We will relish his music better when we understand the personality behind! You are our only window into the personal past! Pl take your time.
He has real feeling when he sings since he understands the lyrics thoroughly. Did he have a favourite raga (which the family know better)? How did he compose? Is it more inspirational or careful crafting? I do not want to infringe on your time too much. These are not idle curiosity but arise from listening to him over the years. We will relish his music better when we understand the personality behind! You are our only window into the personal past! Pl take your time.
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thanks Balaji for the memorable incidents..
"kAdAl kETTu pADanum saNgItam"
sums up that its indeed for an advanced 'student' like he was to TIGER. His music was creative, his renditions were full of bhAvaM because he had knowledge of the kriti be it telugu or sanskrit.
Surely it will be impossible to have 'the student' for him since there is no 'carrying' possible for his music.
"kAdAl kETTu pADanum saNgItam"
sums up that its indeed for an advanced 'student' like he was to TIGER. His music was creative, his renditions were full of bhAvaM because he had knowledge of the kriti be it telugu or sanskrit.
Surely it will be impossible to have 'the student' for him since there is no 'carrying' possible for his music.
let us hope that some students are here-who may carry his work forward-Surely it will be impossible to have 'the student' for him since there is no 'carrying' possible for his music.
in this group singing along with MDR
http://rapidshare.de/files/3235237/04-E ... S.mp3.html
PLUS
two short-duration tracks of MDR singing his own compositions
http://rapidshare.de/files/3233798/enna ... I.MP3.html
http://rapidshare.de/files/3233908/Ni_V ... i.MP3.html
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Enna Kutram â?? Huseni â?? Adi
(P) enna kutram sEidhEnO enna kutram sEidhEnO
inamum sollAyO nIum annai kaNikumariyE (enna)
(AP) mannavan mahAdEvan manamuvandu uNdanai
mAmanam sEyavandAn maruthAyE adupOlE (enna)
(C ) paNagashayaNaN padumanAban sOdariyE
sanuthAngI nIyE sAdhujanapOshinI
munnapina theriyAdavan pOla
eNmEl nIyum innamum pArAmugam EnO
chinnavan varadadAsan (enna)
(Chittaswaram)
S R S â?? P , P â?? N D M , - P N D N S , | S , S N D M â?? P N D M , - P M G R S ||
R G M R G S â?? P N D M P â?? N D N Sâ?? , | Râ?? Gâ?? Mâ?? Râ?? G Sâ?? , P Sâ?? N D M , P M G || R S || (enna)
(P) enna kutram sEidhEnO enna kutram sEidhEnO
inamum sollAyO nIum annai kaNikumariyE (enna)
(AP) mannavan mahAdEvan manamuvandu uNdanai
mAmanam sEyavandAn maruthAyE adupOlE (enna)
(C ) paNagashayaNaN padumanAban sOdariyE
sanuthAngI nIyE sAdhujanapOshinI
munnapina theriyAdavan pOla
eNmEl nIyum innamum pArAmugam EnO
chinnavan varadadAsan (enna)
(Chittaswaram)
S R S â?? P , P â?? N D M , - P N D N S , | S , S N D M â?? P N D M , - P M G R S ||
R G M R G S â?? P N D M P â?? N D N Sâ?? , | Râ?? Gâ?? Mâ?? Râ?? G Sâ?? , P Sâ?? N D M , P M G || R S || (enna)
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nI vanti daivamu â?? Kapi â?? Adi
(P) nI vanTi daivamu lEdani ninu nE
niratamunu namminAnurA rAmayya rAma (nI vanTi)
(AP) nAvanTi dInuDu nikhila bhuvanamandu
naLinaksha! nIku galgunA? IvELa (nI vanTi)
(C) pAparahita! nI pAdamEgati
pAtakamellanu dIrpavayya
kApAdumani vaccinavAriki
kAmitaphaladAyaka! shrI varadadAsudu (nI vanTi)
(Chitta swaram) (2 Versions)
S , , , N D , N P , M G , , , R | S , , , , , n S | G R , M R M P N ||
Sâ?? N Sâ?? Râ?? , - Gâ?? , Mâ?? Râ?? Gâ?? Sâ?? Râ?? â?? N Râ?? Sâ?? , | , N â?? D N P , , M | G R S R , M P N ||
S , N P , M G , R S , R N S , , , - R , M P N |
M , P N S P , N S R , G M , G R S N P M G R S , R , M P N
(P) nI vanTi daivamu lEdani ninu nE
niratamunu namminAnurA rAmayya rAma (nI vanTi)
(AP) nAvanTi dInuDu nikhila bhuvanamandu
naLinaksha! nIku galgunA? IvELa (nI vanTi)
(C) pAparahita! nI pAdamEgati
pAtakamellanu dIrpavayya
kApAdumani vaccinavAriki
kAmitaphaladAyaka! shrI varadadAsudu (nI vanTi)
(Chitta swaram) (2 Versions)
S , , , N D , N P , M G , , , R | S , , , , , n S | G R , M R M P N ||
Sâ?? N Sâ?? Râ?? , - Gâ?? , Mâ?? Râ?? Gâ?? Sâ?? Râ?? â?? N Râ?? Sâ?? , | , N â?? D N P , , M | G R S R , M P N ||
S , N P , M G , R S , R N S , , , - R , M P N |
M , P N S P , N S R , G M , G R S N P M G R S , R , M P N