Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Carnatic composers (other than performing vidwans)
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cmlover
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#1

Post by cmlover » 15 Oct 2005, 06:14

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DRS/others

Please continue the discussions where we left off while the old-ones are getting restored.
Thanks
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srkris
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#2

Post by srkris » 15 Oct 2005, 06:18

Yes, please continue the odeyar thread here, while I restore the older thread. Anyways Odeyar has become too famous to merit just one thread :)

I am giving here the last 10 posts in the thread to help you recollect the discussion:
Thanks DRS.
Is this the first composed by odeyaar?
I would appreciate other etymological derivations of nArAyaNA!

kapila munivaradAyakam
Kapila was a great devotee of Vinaayaka who blessed him and gave him the cintAmaNi (wishing stone) which he gave to Indra. He was the one who burned the 60,000 sons of sagara and bhagIrata brought the ganges to purify and send them to heaven

Are there other renderings of this fine lyric?
Yes this is indeed the first composition by oDeyar and it was composed on 17-8-1945.


SrIvidyA citprabhAnanda rAja yOgIndravanditam - Him worshipped by citprabhAnanda who is king and yOgi at the same time (this is a clear reference to oDeyar himself) - Yes - citprabhAnanda being his dIksha nAma.
SrI cAmuNDESvari dEvi-kannaDa-Adi tALa rendered by Rudrapattnam Bros - posted on bboard by simhapuravasi

http://rapidshare.de/files/6095258/02-s ... annada.mp3
DRS ji,
I was interested to know the meaning of 'Sindhurapriyam'.What is the relevance of this line?
Interestingly,HMB refers to Ganapathi as 'Kumkuma Sharira' in his Kanada composition-'Vara Siddhi Vinayaka.Sumuka'.
Kartik
Purandara dasa starts as
"sri gaNanaatha sindUravarNa..."
and hence association of kumkum with vinaayaka is an ancient concept. Is it because kumkum is his favourite or because he has that hue (being smeared by kumkum) since he is descried as white coloured elsewhere, I don't know. I would love to know if there is a puraNic reference in this context...

Meena

Nice work!
j~nAnamudrAlankRtam

This could simply mean that he is in the form of praNava (praNavaakaaram (see MD's vaataapi)).

Technically, j~naanamudra is:
"tarjanya^NguShThakau saktau agaratO vinyasEt h^Ridi|
vAmahastAmbujaM vAmajAnumUrdhani vinyasEt|
j~nAnamudrA bhavEt EShA rAmacandrasya prEyasI||"
I have not however seen vinaayaka in this posture in any representations!
Meena
You read my mind in posting the kannaDa kRti by rudrapaTNa brothers!
DRS ji,
I was interested to know the meaning of 'Sindhurapriyam'.What is the relevance of this line?
Interestingly,HMB refers to Ganapathi as 'Kumkuma Sharira' in his Kanada composition-'Vara Siddhi Vinayaka.Sumuka'.
karthik
The sAhitya is sindUrapriyam not sindhura which means elephant. Sorry for error in the lyric. But I had corrected it in the meaning that I posted. Meena has aptly pointed out sindUravarNa (or sinduravarNa) in purandaradAsa`s piLLAri gIte. There are 16 (32) well-recognized forms of gaNapati iconographically. Some of them such as rakta gaNapati and mahAgaNapati are red in complexion. Red is also a reference to rajas (guNa).
j~nAnamudrAlankRtam

This could simply mean that he is in the form of praNava (praNavaakaaram (see MD's vaataapi)).

Technically, j~naanamudra is:
"tarjanya^NguShThakau saktau agaratO vinyasEt h^Ridi|
vAmahastAmbujaM vAmajAnumUrdhani vinyasEt|
j~nAnamudrA bhavEt EShA rAmacandrasya prEyasI||"
I have not however seen vinaayaka in this posture in any representations!
This particular kRti of oDeyar clearly addresses mahAgaNapati, one of the 32 forms of gaNapati I mentioned earlier. mahAgaNapati is ruddy of complexion and does show j~nAna mudre.
Please peruse this page showing pictures of an giving some iconographical details of the 32 forms. mahAgaNapati is number 13 in the series here. The sketch clearly shows j~nAnamudre in the right lower hand close to the chest.

http://www.himalayanacademy.com/resourc ... ch-05.html

Had been to Mysore yesterday and was thrilled to see Mother Chamundeswari in all her splendour.

I also picked up a Kannada book on the patronage extended by Odeyars to the field of music(Department of archeology)..Has very nice writeups on many musicians who adorned the court of the Maharaja, while describing in detail about the contribution of His Highness himself.Also picked up a book on mummadi,

The Oriental Research Insitute in the University of Mysore has published the 3 volumes of Sri Tattva Nidhi.Every month between the 1st and 4th they extend a discount of 20-25% on the books.Each vol costs about 600 but the printing is topnotch.
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cmlover
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#3

Post by cmlover » 15 Oct 2005, 09:13

DRS
Time to discuss aTaaNaa the prince among ragas. I know this is a raga whose spirit cannot be captured using its Aro/Avaro.

coolkarni

Is there a nice aTaaNaa RTP?
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meena
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#4

Post by meena » 15 Oct 2005, 10:41

Kji/DRS/RC

aThANa AIR clip pl. or was it u/l???
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coolkarni
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#5

Post by coolkarni » 15 Oct 2005, 19:17

atana clip was not there in my original bunch of 56.
must have been uploaded by DRS.

ATANA TRACKS.. will start looking for them.
got really rusty these last two weeks :-({|=
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cmlover
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#6

Post by cmlover » 15 Oct 2005, 20:03

aDaaDaa!
aThANA is throwing a spanner in our discussions. We never had an official (AIR) posting. Coolkarni had posted Neyyatinkara Vasudevan's rendering in response to my claiming that JC has not been rendered by concert artists. Also Shankar (I think) posted santhaanam's commercial version. I grudgingly accepted that. I certainly would like to know why this great (arthagarbhita) lyric is not more popular since it is also the very first of Odeyar. Has RKS rendered it? Again i am a little mystified that the first kriti of JC is in aThANA rather than in hamsadhvani or nATTai. DRS did harangue me on the choice of the raga, :) but I am not giving up. My surmise is that JC perhaps was a rebel who wanted to break tradition and was on a war-path. :) What more is appropriate than aThaaNa for that purpose (RC any historical insights).

Now I am waiting to be blasted by DRS and his gems of wisdom enlightening me (us) re: aThaaNaa :)

coolkarni

please post your best aThaaNa (maybe a HM ally too!). Time for mourning is over. Pl come out and join the 'grihayag~nyam'. :)
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coolkarni
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#7

Post by coolkarni » 15 Oct 2005, 20:27

atana

starting with a wonderful sloka
http://rapidshare.de/files/6314719/trs- ... a.mp3.html

will put up some more nice ones of akc.trs,tns,manakkal within a day
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cmlover
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#9

Post by cmlover » 15 Oct 2005, 22:19

What a delightful musical shower! it has put out the fire that tried to deter us!
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cmlover
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#10

Post by cmlover » 15 Oct 2005, 22:20

...also the end of the drought...
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drshrikaanth
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#11

Post by drshrikaanth » 16 Oct 2005, 01:14

aThANa is, as CML has correctly summed, a rAga that cannot be reduced to a scale. It is traditionally allocated a ubhaya sampUrNa scale. It is placed under the harikEdAragauLa or harikAmbOdhi mELa. Exceptions are more than the rule. During the present day, aThANa has lot of N3 and is also placed under dhIraSamkarAbharaNa, the 29th mELa. But N2 is invariably associated with D as an anuswara. It can also be placed under kharaharapriya comfortably as G2 also occurs. In places, shades of darbAr are palpably evident.
N2 and G2 are bhAShAnga swaras. N2 and N3 and many shades inbetween as also G2 and G3 and the intermediate shades are profusely seen. Also, contemporary aTHANa does not seem to have a straight SRGM or RGM usage. mudduvEnkaTamakhi`s gIte starts on "GPDS" which is not seen in current-day version. RMPN is the usual way of ascent with PDNS also occuring often. D is the most important swara. DP is always renderd as DN2P.
It is a uttarAnga pradhAna rAga with not too many forays below M. The lowest that one can go is upto the mandra dhaivata with most sancAras stopping at N3 itself. S*N3S*, *SN3D~ are seen with N3. N3 occurs when descending from S* and ascending again. There are many phrases where N2 or N3 can occur interchangeably. At times it is best not to try and reduce it to either swara.
There is a beautiful AditAL varNa of vINe subbaNa in the rAga. This rAga is considered dESIya and is very suitable for rendering SlOka and in operas, harikathe etc. Its essence can be very quickly captured in a phrase or two. Singing the rAga may not be too diffivult but swaraprastAra is a challenge to and a measure of ones vidwat.
oDeyar`s kRti is a lovely piece. MD`s bRhaspatE is a masterpiece portraying the rAga in all its majest in viLamba pace as only MD can do. sakalagrahabala nIne is purandara dAsa`s masterpiece in madhyamakAla.
Coolkarni
Can you post tyAgarAja`s "mummUrtulu gumigUDi". The first I heard this kRti live was by nAgmani Srinath in Tyagaraja gGana sabha (Vani school, rajaji Nagar, Bangalore). A great piece. Any varNas or rare pieces are welcome. Any MD`s kRtis are a treat including bRhaspatE.
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rshankar
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#12

Post by rshankar » 16 Oct 2005, 03:45

skris: GREAT to see this site up and running again! (reminds me of the famous movie song by the Mangeshkar sisters from Mother India: 'gir girke musIbath pE samBalthE hi rahEngE, jal jAyE magar Ag pE chalthE hi rahEngE' - the never say die attitude!).
Here are a couple of tamizh songs - some of my personal favorites - in aTAnA:
This one is specially for CML - an aTAnA by NCV:
http://rapidshare.de/files/6331193/05_y ... _.m4a.html

The next is a padham by Smt. Vyjayanthimala Bali and party. The song is by Kavi Kunjara Bharati (the grandfather of Koteeshwara Iyer, who called himself 'kunjara dasan' in obeisence to his grandfather):
http://rapidshare.de/files/6331563/02_p ... _.m4a.html

BTW, isn't the song 'varugirAL unnai thEdi' from an old tamizh movie that Padmini dances to (MLV was the playback singer) also in aTAnA?

Has rapidshare decided not to send links via email anymore?
I did not get emails for the last 2 uploads.
Ravi
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drshrikaanth
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#13

Post by drshrikaanth » 16 Oct 2005, 03:47

karthik_kris wrote
The Oriental Research Insitute in the University of Mysore has published the 3 volumes of Sri Tattva Nidhi.Every month between the 1st and 4th they extend a discount of 20-25% on the books.Each vol costs about 600 but the printing is topnotch.
SrI tattva nidhi is excluded from this discount offer. The rate is same anyday, anytime. :-(. If one is looking for a discount, it is wiser to buy the book from a shop in Bangalore (Sahitya Bhandara or Geetha book House in Chikpet) where a 10% discount is available. One may get the discount in Sapna book stall too.
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cmlover
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#14

Post by cmlover » 16 Oct 2005, 04:25

Thsnks very much shankar! aThANA in the golden voice of NCV brings back pleasant memories. There is also another nice one which was popular in those days 'yaarunthanaippOl aatharippavar aaRumukaththarasE..' which was set to a dance in the old 'Sri vaLLi'.

DRS

Thanks for that succinct summary of all the controversies in aTHANA. It has a very honoured place in Harikathas as you mentioned. TSB does use it effectively. But green in my memory is the aThANA of HMB who was a past master in its use in the Harikathas. He had the commanding voice and the royal looks to go with it which suited this raga.

coolkarni

TKR is superb. Awaiting TNS (..and perhaps a shenay (is it too much to ask..)!
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drshrikaanth
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#15

Post by drshrikaanth » 16 Oct 2005, 04:43

Here is SrI mahgaNapatim from the AIR series rendered by M.S.Sheela and R.A.Ramamani.

http://rapidshare.de/files/6333185/SrI_ ... a.mp3.html
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drshrikaanth
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#16

Post by drshrikaanth » 16 Oct 2005, 04:58

Ravi
varugirAL unaittEDi by MLV is aTHANa. So is "yAr trauvAr inda".

Here is a beautiful kannaDa pada from the film raNadhIra kaNThIrava(1960). The song is sung by Radha-Jayalakshmi. Thie song is very apt here as the story is about Mysore oDeyar (as is clear from the name of the film). Even in the song, Mysore is mentioned.

http://www.musicindiaonline.com/p/x/PJy ... As1NMvHdW/
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meena
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#17

Post by meena » 16 Oct 2005, 05:09

DRS thanks for the AIR clip
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poongavur
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#18

Post by poongavur » 16 Oct 2005, 05:37

It feels great to see the site revived and the excellent discussion by DRS and others.
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coolkarni
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#19

Post by coolkarni » 16 Oct 2005, 06:50

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Raja Chandra
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#20

Post by Raja Chandra » 16 Oct 2005, 12:53

Hi friends,

Nice to be back

thanks chemabi for my rebirth too. i just registered and was able to log in :D

There is some good news for kaapi and others who wanted tamil/telugu/malayalam transliteration of oDeyar kRuti's.

you can d/l the latest version of baraha from http://www.baraha.com. Then go to http://forumhub.com/indcmusic/15520.19.35.58.html, where in most of the kRuti's sahitya is available. You can use this and you can get the tamil/telugu/malayalam versions as per your personal preference.

CML has verified one of them and feels it is just ok.

if there is anything i can do in this direction, i will be very glad to do the needful.

you can d/l the first kRuti from http://rapidshare.de/files/6342764/jcrwg1_t.pdf.html and let me know.
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Raja Chandra
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#21

Post by Raja Chandra » 16 Oct 2005, 15:06

DRS,

Thank you for that very informative site on ganapati. I was surprsied to see the similarities between shiva nidhi ( sri tattva nidhi) and this site.

shivanidhi's description and depiction of mah gaNapati can be downloaded :

http://rapidshare.de/files/6345753/mahA ... M.doc.html

but DRS , can you clarify on the use of phrase: paMcamAtaMgamuKaM !
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Raja Chandra
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#22

Post by Raja Chandra » 16 Oct 2005, 16:30

CML,

You have quoted:aTaaNaa the prince among ragas .

Is'nt it appropriate for a prince to start his compostion with such a rAga !

It is a rAga with vIra rasa and hence suits a prince very well.

Knowing oDeyar's passion and mastery over western music it is almost axiomatic to expect that he choses a rAga which is janya with shaMkarAbharaNa.

I undsertand Adi shaMkara has composed this in aThANa:

galaddAnaguMDa miladbhRuMga KaMDaM
calaccAru shuMDaM jagatrANa shauMDam
lasaddaMta kAMDaM vipadbhaMga caMDaM
shivaprEma piMDaM bhajE vakratuMDaM ||
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drshrikaanth
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#23

Post by drshrikaanth » 16 Oct 2005, 17:36

CML,
It is a rAga with vIra rasa and hence suits a prince very well.

Knowing oDeyar's passion and mastery over western music it is almost axiomatic to expect that he choses a rAga which is janya with shaMkarAbharaNa.

I undsertand Adi shaMkara has composed this in aThANa:

galaddAnaguMDa miladbhRuMga KaMDaM
calaccAru shuMDaM jagatrANa shauMDam
lasaddaMta kAMDaM vipadbhaMga caMDaM
shivaprEma piMDaM bhajE vakratuMDaM ||
It is true that aThANa is a janya of dhIra SankarAbharaNa. But I do not think oDeyar chose it ot of his passion for Western music. Far from it, athANa is a rAga that stands further than most in terms of handling the swaras. Its treatment is far removed from Western music. In fact rAgas like aThANa, SahAna, suruTi etc are filled with the essence of karNATaka sangIta. I also very much doubt if HM has an equivalent for aThANa. There is simply too much gamaka embellishment in the rAga that cannot be accommodated in HM.

As for the SlOka, AFAIK SankarAcArya did not compose in any pariticular rAga. (perhaps he did but they have certainly not been passed down). Maybe you have heard artistes rendering this particular SlOka in aThANa.
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drshrikaanth
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#25

Post by drshrikaanth » 17 Oct 2005, 00:14

The next one in the series- mahAtripurasundari in kalyANi rendered by Nagmani Srinath and Chandrika.

http://rapidshare.de/files/6366422/mahA ... i.mp3.html
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