Harikesanallur Muthaiah Bhagavthar

coolkarni · Post by **coolkarni** » 21 Nov 2005, 08:21

cml

yes indeed.I was picking up the thread from Alankari to Sunadavinodini to Hindol.
Sorry for the confusion..

Guest · Post by **Guest** » 22 Nov 2005, 14:47

Thanks a lot to all of our fellow members for the support extended to the thread.It seems to be taking great shape.I was writing all the while as "harikesa",but forgot to introduce myself.

I was unable to login all these days under kartik_krish.The reason,I discovered just now,is a typo while that seems to have creeped in while resurrecting the forum.The name is kartik_kish (with the r missing).I discovered this from the list of users.

Many thanks once again to one and all who want to take this thread forward and in the process we all will acknowledge one of the greatest mahanubhavas of Carnatic music.

Karthik

cmlover · Post by **cmlover** » 23 Nov 2005, 00:19

Dear kartik

A warm welcome! We missed you! What is a discussion of HMB without your presence and contributions? We have a wealth of materials on him which I am sure coolkarni will share and with the historical insight that RC will provide we are on to a good start. Apparently I seem to be the only onw who has seen and heard this mahnubhaava in flesh and blood! I am thrilled. In due course DRS will join us once he is relieved of his urgent commitments. Chembai also has guaranteed us iron-clad protection;-) What more!

Let us get going...

meena · Post by **meena** » 23 Nov 2005, 08:18

Welcome back karik aks harihesa, now that we all know ur on board lets move on pl.

harikesa · Post by **harikesa** » 23 Nov 2005, 14:14

As RC rightly pointed out,when HMB wanted to adopt Sohini to CM,he did refer books and found the existance of Hamsanandi in CM (which was not very commonly rendered),a janya of Gamanasrama,which had an occassional Pa in its scale.He ommitted it and composed Neethu Mahima,Sachamara Ramavani in this raga.He is also credited to tuning(re-tuning)Pahi Jagajjanani of ST when he was invited by the Travancore kingdom.
Very interesting to note that there are not much chayas of Marwa or Puriya in his kritis,as a mark of personal observation.

I did manage to record several renderings of his kritis from AIR/DD which I shall upload from time to time.

srkris · Post by **srkris** » 25 Nov 2005, 18:03

abadri · Post by **abadri** » 30 Nov 2005, 00:57

Reviving this thread with this post I made on www.rasikas.org before it went down.

This is a response to CMLsir's request to post TNS' rendition of Nidhu Mahima - Hamsanandi

Here's a pretty elaborate rendition by TNS (accompanied by MSG & TS)
[rapidshare links deleted]

A couple of shorter versions:-
1). GS Mani with VVS & UKS - [rapidshare links deleted]
2). SKR (from a HMB day concert at Sastri Hall) - [rapidshare links deleted]

For an instrumental version, here's Mali (from sometime in the 1950's)
[rapidshare links deleted]

Finally here's a recording of HMB's Sachamara Ramavani in Hamsanandi.
Karaikkurucchi Arunachalam is your performing artist - [rapidshare links deleted]
[I don't have a vocal recording of this kriti]

Hope this thread gets going again

cmlover · Post by **cmlover** » 30 Nov 2005, 11:40

Thanks Badri

kartik

Do we have any other Hamsanandi of HMB?

meena · Post by **meena** » 30 Nov 2005, 23:11

hi cml, guess ur net is up and running.

Hamsanandi comp. of sree HMB:

Dhim tare nare nare dhirana tarana dhirana (t), Hamsanandi, Adi
Nidu mahima pogada na tarama rama nitya sukhada, Hamsanandi, Adi
Sachamara ramavani savya dakshina sevite, Hamsanandi, Rupaka
Soma suryagni lochana mamava, Hamsanandi, Chapu
Tillana (dhim ta tare), Hamsanandi, Adi

rshankar · Post by **rshankar** » 01 Dec 2005, 00:40

What was HKMB's first composition?
Ravi

cmlover · Post by **cmlover** » 01 Dec 2005, 03:00

meena

Not quite yet! But I have a loaner from my son! Apparently there is a virus which they have not figured out yet!

I am hoping Kartik will u/l some scintillating HMBs.

By the by (kartik/RC) could you clarify why there was a row between HMB and ARI (who never sang any of his compositions!)

Raja Chandra · Post by **Raja Chandra** » 12 Dec 2005, 00:56

coolkarni

I think you meant sunadavinodini and not karnaranjani. Either case pl post the HM pieces. If RC is watching I would like to know whether MV created the immortal sunadavinodini through his HM contact and whether he had any HM connection. It will be equally interesting to know HMB's HM connection. The historical connections are vague even in the case of MD. HMB during his harikathas liberally used HM tunes as also Maharashtrian abhangs. How did he learn them?

sorry sir,

i did not answer this for a long time. i was too busy.

To answer this one has to understand the cultural atmosphere which existed in mysore palace. Music of all types flourished at Mysore. Musician of all types , be it Western, carnatic and hindustani were patronaged. In fact many were encouraged to learn western music. Like Vidwan Venakatagiriappa was trained to write staff notations for the compositions of carnatic music. Even Dr. V.doreswamy Iyengar, Mr. S.Krishna murthy ( Grand son of MV ) passed the exams conducted in this regard.

In the archives of the records of the Palace administration, was this letter: ??It has been the great good fortune of Your Highness? petitioner not only to have been cherished and protected in this royal court, but to have been bestowed the high favour of a title at the hands of your Gracious Highness.?? The title was ??Aftab-e-Sitar?? bestowed by the maharajah on the writer of the letter, one Barkatullah Khan ? palace musician from 1919 till his death in 1930 and one of India?s great sitar players, one time guru to Kesarbai Kerkar and to the father of Ustad Mushtaq Ali Khan, the greatest exponent of the Seniya sitar style in recent times. (Many years later, it was this same title that was conferred on Ustad Vilayat Khan by late president Fakhruddin Ali Ahmed.)

Many illustrious members of the Agra Gharana including Nattan Khan and Ustad Vilayat Hussain Khan were guests of the Maharajah in Mysore. The legendary Abdul Karim Khan whose shisyas include Sawai Gandharva, Roshanra Begum and Hirabai Barodekar (it is said that though a devout Muslim, the Ustad would write ??Om tatsat samavedaya namaha?? on his musical works and was perhaps the first North Indian musician to study Carnatic ragas and incorporate several of them into Hindustani music). It is said that he learnt them from MV. Gauhar Jan, one of the greatest exponents of the thumri, the khayal and the ghazal, who was the toast of Calcutta where the saying went that ??Calcutta without Gauhar is like a bride without her Shauhar (Husband).??

All in the court of a king with a long tradition of patronage to Carnatic music where famed Carnatic musicians like Mysore Vasudevachar, Muttiah Bhaghavatar, Veene Sheshanna, T. Chowdiah and Bidaram Krishnappa flourished as court musicians.

Coming to MV, he performed his first cacheri on 13 jan 1896 at Mysore and he never looked back ! He travelled all over india. In Decemeber 1911 he participated in a snageetha jalasa and won the first prize in carnatic music section. On the way back he performed at Amritsar, Ludhiana, Bhopal, Bombay.

This is what Hindu ( fifty years ago - march 5 to 11, 1912) states;

A correspondent writes from Bombay under 3rd instant; Vidwan Vasudevachar, the well known vocal musician of the Mysore Durbar is now here on his return journey from Jallandhar where he had gone to attend the great congress of indian Musicians which held its sittings from the 26th to 29th of Decemeber last. He scored a brilliant sucess at Jullandar( being one of the fortunte four who carried away the highest awards), for his originality in composing sanskrit songs and setting to happy music even ordinary every day Mantras such as Kayena Vacha. He was also awarded a gold medal at Bhopal. The public of Bombay had the pleasure of hearing him yesterday when a concert and entertainment was organsied in his honour at Hira Bagh Hall by the South Indian residents of Bombay. He kept the whole audience spell bound throughout those three hours of the entertainment and specially the : coronation song" which the vidwan has composed in sanskrit and set to three differrent kinds of music ( Karnatic, Hindustani and English) won repeated applause....

He was fond of listening to all kind of music on AIR. when asked which he liked the most, he is said to have told it is like a basket full of fruit with grapes, pommagranate, oranage etc. How can you ask which is better ! Each has eats own unique taste. About Hindustani Music, he has said - Oh! for shruti they give their life. Thus it is pleasant experience to listen to them.

Unquote:

Hope i have answered your question !

srkris · Post by **srkris** » 12 Dec 2005, 01:41

RCji,

Many many thanks for these recollections.

I would also like to know what was the nature of the row between ARI and HMB that drove ARI to make the tasteless remark about HMB's compositions

cmlover · Post by **cmlover** » 12 Dec 2005, 04:35

Fascinating! You took us on a ride in your time machine. More such explorations of our historical archives are needed to reconstruct the History of Indian Music! I feel sad that with passing away of our Monarchy we have lost an important impetus for music and musicians. The national awards are post facto whereas the Durbar provided the opportunity to intermingle and for symbiosis. I have golden visions of Abdul Karimkhan exploring Hamsadhvani in the company of MV, HMB and later seeking Chembai and on the reverse MV tuning in Sunadavinodini with HMB giving life to a host of HM ragas inside the CM sharIra.

Thanks RC!

Raja Chandra · Post by **Raja Chandra** » 13 Dec 2005, 00:50

I thought one would ask the question on the coronation song !

My best guess is being a hardcore Mysorean, MV probably sang the Mysore state anthem kayoshree gowri. An amateur rendering of the same can be downloaded

http://rapidshare.de/files/9054785/01Ka ... i.mp3.html

This song was composed for the coronation ceremony of chamaraja wadiyar ix ( grand father of JCRW). When British Resident fixed the coronation ceremony they were surprised to know there is no state anthem. Then a court poet Basappa Shastry ( 1843-1891) composed and the same was rendered on the coronation day. Ever since then this became a state anthem and it was rendered by both the carnatac band and western band alike in their own style. Obviously it was also rendered in HM style also.

According to MV?s disciple Sri Channakeshaviah MV was fond of behag, mond, kaanada, sindhu bhairavi, maal kos, kamaaj and very often used to surprise everyone by singing Sanskrit shloka's with alaap in HM? style .

Raja Chandra · Post by **Raja Chandra** » 13 Dec 2005, 00:52

RCji,

Many many thanks for these recollections.

I would also like to know what was the nature of the row between ARI and HMB that drove ARI to make the tasteless remark about HMB's compositions

sorry chembai, i have to draw a blank on this one. But will try and locate some info if i can

meena · Post by **meena** » 13 Dec 2005, 00:57

RC

'Myosre state anthem', this is news to me. Could u pl provide the full text-Kayo Shrigouri Karunalahari ? thanks

Raja Chandra · Post by **Raja Chandra** » 13 Dec 2005, 22:57

meena,

on the lighter side, it just means you did not attend school before 1950 in the erstwhile kingdom of mysore !

Any one who attended school in the princely state knew about this.

meena · Post by **meena** » 14 Dec 2005, 00:23

DRS
Do u happen to have the text for the mysore anthem? thanks

Raja Chandra · Post by **Raja Chandra** » 14 Dec 2005, 00:56

meena,

it may not be very accurate, but a fair copy !

kAyau shrI gauri karuNA lahari
tOyajAkShi shaMkarI shvari |pa|

vaimAnika bhAmArchita kOmala tara pAde
sImatiga bhUmAspade kAmita phalade|1||

shuMbhAdima dAMbhOnidhi kuMbhajanibhe dEvi ||
jaMbhAhita saMbhAvite shAMbhavi shubha vI ||2||

shyAmAlake cAmuMDike somakulaja jaya cAma nAmAMkita
bhUmIMdra lalAmana mudadE ||3||

meena · Post by **meena** » 14 Dec 2005, 01:00

RC
thanku

Raja Chandra · Post by **Raja Chandra** » 16 Dec 2005, 01:01

It appears a bit odd that we are discussing about MV in Dr. HMB's domain. Our friend Harikesha is silent about it ! If it was DRS, he would have admonished us by now ! Well what ever happened to our good doctor?

I will endeavor to link MV 's own failings and rigid attitude that contributed to the success of Dr. HMB in Mysore Durbar!

As you all know MV had the unique distinction of seeing four generations of Wadiayr's in his lifetime. He was blessed by KRW III. He had his musical pilgrimage at Tiruvayyur under Pattnam Subramanya Iyer due the personal recommendations and munificence of CRW. (Yes! Pattnam Subramanya Iyer performed at Mysore Asthan and CRW knew him well ). After his return to Mysore MV became very close to CRW and accompanied him on his tours. When CRW died in 1894 at Calcutta, even the responsibilities of completing obsequies at calcutta and kAshi fell on him.

May be all this gave him some kind of authority over the Young Prince KRW IV. MV was also given the responsibilities of teaching Sanskrit to the young Prince. It appears MV took his job little too seriously and didn?t think twice about smacking the knuckles of his own king! So much so KRW IV had to plead: Please be soft Gurugale , it pains!! This must have left some indelible mark in the back of his mind.

In due course KRW IV became known as a Rajarishi and an authority of Music and arts. He requested MV to compose in Kannada. The conversation was on these lines:

KRWIV: Why not compose keertana?s in Kannada.

MV: Your Highness, Kindly excuse me. This is not possible by me.
KRWIV: Why? Is t your opinion that Kannada as a language is not suitable for Music?

MV: What difference would it make if one worships Goddess of Music (sangeeta sharade) with the flower of any language? After all, grand old man of carnatic music Puranadara Dasa was a true kannadiga! Notwithstanding one?s mother tongue, every one who studies carnatic music has to start with ?laMbodara lakumikara?, isn?t it?

KRWIV: Despite having born and brought up in Karanataka, how is it that you have not composed in Kannada so far ? Isn?t it an insult to Kannada?

MV: Your Highness, it is not correct to presume that I do not have profound regard for Kannada, just because I have not composed in Kannada. My country is Kannada nadu, my language is Kannada, and my culture is Kannada. But I studied Sanskrit and dearly married to Music. As you are well aware, customarily Carnatic music has grown with the support of Sanskrit and Telugu only. Due to these circumstances I have followed the same path.

KRWIV: But you can make an attempt now?

MV: Excuse me my lord. I am too old for new experiments!

KRWIV: I will get the kannada sAhitya written, you can at least compose the music for them?

MV: Your Highness has to excuse me even on this count. Music and sAhitya both have to emanate together. Then only it will emerge as a meaningful artwork. Otherwise it will be artificial. It will be akin to staying in a rented house contrary to the freedom one enjoys while living in one?s own dwelling. Can you not discern the difference my lord?

KRWIV: In that case can I presume you are not going to honor my command ?

MV: Your Highness should not feel I am disobeying the orders of my Provider. Just to honor the Kings ordain, I will compose one keertana in kannada but I humbly pray that your honor should not pressurize me in future.

KRWIV: What if I show you by getting Kannada kRuti?s composed by Non-Kannadaga Vidwan?s?

MV: I only said that it is not possible by me. I did not say it is not possible by any one else, your highness.

KRWIV: What if your decision comes in the way of your progress?

MV: I do not consider my devotion to my art is secondary to my progress, my lord.

Rest as they say is History. Maharaja got Devottama Jois to assist Dr. HMB to compose the everlasting Astottara Malika on Goddess Chamundi, which has become part of the musical folklore. This paved the way for Dr. HMB getting pride of place in the King?s court and opened the floodgates of fortune.

Despite getting his first book of Compositions printed by KRW IV and other titles, generally it is felt MV suffered financially during this period. Only after JCRW ascended the throne did the golden period in MV?s life start and got back much more than what he had lost. More than anything else, the world of Caranatic Music gained in the form of a composer in JCRW himself.

It also leaves the doubts linger on who wrote the sAhitya for the sole kannada composition by MV !

rshankar · Post by **rshankar** » 16 Dec 2005, 09:13

RC: Thanks for the information: what an eductaion this site is!
I may have missed it, but what is MV's sole Kannada krithi?
Ravi

meena · Post by **meena** » 16 Dec 2005, 12:49

shankar
sree MV's kannada kriti - karuNisau tAye mAye SivajAye rAgA: saraswati manOhari.
DRS mentioned this on sangeetham thread- we had a long kanakadasa thread running, not too long ago.

DRS could u pl post the full text for us, thanks

Raja Chandra · Post by **Raja Chandra** » 17 Dec 2005, 00:19

Thanks meena for filling the Blank!

Here is another small link between MV and Dr. HMB.

Thayagaraja Aradhana Utsava was initiated at Mysore under the leadership of Dr.HMB. It used to be conducted at the kolaLu gOpalasvAmi temple at Old agrahara . During the inaugural function all the vidwan?s who attended the utsava sang Thyagaraja?s various compositions as their humble contributions befiiting the occasion. MV thought differently and silently composed a new keertana commemorating the great saint and when his turn came he presented - ? shrImadAdi thyAgarAja guruvaram namAmyaham in rAga kalyAni.

cmlover · Post by **cmlover** » 17 Dec 2005, 22:22

RC

Thanks for those fascinating mythical conversations. MV was by no means a fanatic. He chose to compose in Telugu and even teach in Telugu to MS. Being a Kannadiga one would have expected him to find the muse in his mothertongue. which he must have. But then there must have been a traumatic event (like rebuke?) that must have prevented him or even take a vow not to compose in his own language. We know very well that Thyagaraja living in the heartland of TN refusing to compose in Tamil. There is the element of ego even in great souls. If that were not so they would indeed be godheads. When Rama said " atmaanam maanuShaM manyE.." he was not talking like an avataara. Did HMB compose in Tamil? I hope kartik will pitch in...

Raja Chandra · Post by **Raja Chandra** » 17 Dec 2005, 23:11

CML,

Well, the conversation is what MV himself has recounted; I may have just done a poor translation. One of the unique contributions of MV has been his recollection of his illustrious career, when he was already 90 and above. Thanks also due to his grandson Mr. S. Krsihna Murthy .

As I understand, MV just thought Kannada as a language is not suitable for classical music composition.

Of all the things It was the dreaded plague in Mysore, which was responsible for launching MV as Vaggeyakara! Sitting in temporary tents outside the fort- when death stared at one and all- an Ursu Gentlemen coaxed him to compose for posterity.

meena · Post by **meena** » 18 Dec 2005, 00:18

Deleted

Lakshman · Post by **Lakshman** » 18 Dec 2005, 04:54

Meena: HMB did compose a number of songs in tamil. I will post a list after I get back home.

rshankar · Post by **rshankar** » 18 Dec 2005, 05:19

I have heard Nithyasree render a couple: a very lyrical thenmAngu in yadhukulakAmBOjI (sundharan chEr peN mayilE, antharanga mA mayilE...), and another in jOnpuri (managaLarUpiNI)...both very nice! I am sure there are few more: I am waiting for Lakshman's list!
Ravi

cmlover · Post by **cmlover** » 18 Dec 2005, 11:42

Thanks RC for the clarification!

I hope coolkarni once he is ready will be able to satisfy our curiosity.
The historical events are fascinating.

RC

Could you elaborate the "plague" and how it influenced MV?

Raja Chandra · Post by **Raja Chandra** » 18 Dec 2005, 23:16

RC

Could you elaborate the "plague" and how it influenced MV?

MV has done a reamarakable job in his memoirs to recreate the wondeful life at Mysore in the early part of the last century. May be away in chennai at the ripe age of 90 made him long for his mother tongue and write those immortal memoirs and do in prose what he did not want to do in poetry/music.

The plague episode in his life was an epochal first step in the making of MV as a eminent Vaggeyakara and and i sincerely hope the following few lines bring the essence of the story:

In the year 1905, Mysore was devastated by an attack of Plague. In those days around 3000 families still lived inside the Mysore Fort (Today you can find only Palace and Temples inside). Even some of the senior musicians like veena sheshanna, subbanna and subba rao had their houses inside the fort. Outside on the eastern side was a vast sheet of water known as Dodda Kere. As it became a source of plague and cholera it was completely drained in later years and it is just Dodda Kere maidan today. During the Great Plague of 1905 most of the people were sgifted to temporary tents in what is known as Alanahalli (near the Lalitha Mahal Palace) . MV also found refuge their due to his proximity to an old Ursu gentleman. (Urs is a surname by which the kinsmen of the Royal family are knownand they were generally reverentially addressed as buddhi). Sri. Gopala Raja Urs was a contemporary of MV?s father and he had immense liking for young Vasu and used to play game of dice (pagaDe) with him to kill time.

Gopala Raja Urs seeing the havoc caused by Plague told MV: Vasu, see the havoc caused by plague, there is no guarantee for life. It is better to leave something for posterity for which you will be remembered.

MV: When we are gone, what is there to be left?

GRU: Stop joking, God has given you equal expertise in two fields. You have experience in music and good knowledge in sAhitya. Why not make your name immortal by composing keertana?

MV: OK, it is enough to digest what our elders have left behind to sing, why should I compose?

GRU: No Vasu, it is not right for some one knowledgeable to talk like this. It is not fair to live on the assets left behind by our elders alone. It is the duty of scholar like you to follow the path set by the elders and make use of your learning and do something for posterity and do justice to your knowledge. May be with your work, my name will also be remembered. Vasu, you should agree to my request and compose.

This conversation between MV and GRU sowed the seed in MV?s mind and set him thinking. The result was ? chiMtEhaM jAnakIkAMtaM saMtatM?. He later went to a well-known scholar Sri.Rama Shastri from Chamaraja Nagar and explained the circumstances, which inspired him to compose, and demonstrated the keertana by singing before him. Sri. Rama Shastry blessed him and told him you have divine blessings, go ahead and compose many more..

Hope as GRU wished ,he is also rememebered when ever this story of MV is recounted by the rasikas.

rshankar · Post by **rshankar** » 19 Dec 2005, 00:14

What a wonderful episode. RC thank you for bringing it to our attention! Now, evertime I hear MV's mudhra, I will think of GRU as well, and thank him.
Ravi

drshrikaanth · Post by **drshrikaanth** » 19 Dec 2005, 01:37

Wow, beautiful. Thanks RCji.

drshrikaanth · Post by **drshrikaanth** » 19 Dec 2005, 05:08

Thanks RC

Interesting how the incentive prompted MV to composing. Since he was a musician himself it is right he felt that existing compositions of Trinity were adequate. His apprenticeship with Patnam must have also prompted him to compose on his own, though Patnam composed mainly in Telugu. Perhaps that is another reason why MV also started composing in Telugu. But I am still puzzled about the statement that he felt Kannada was not fit for musical compositions. Could you throw some light on his reasonings? On the otherhand HMB( a non Kannadiga) did not feel the same way. Also were there other composers in Kannada in late 19th century ? I assume Purandara was always popular with CM folks and there must have been more who wanted to follow on his footsteps!

harikesa · Post by **harikesa** » 22 Dec 2005, 15:13

I am extremely sorry for the delay in my posts as I have been very busy officially.
CML,HMB has composed MANY compositions in Tamil.There is one full volume of his Tamil compositions.Several kritis are in Natabhairavi and Jonpuri.There is one piece in Hamir Kalyani where he talks about human sentiments-about how man is greedy and jealous etc,RS is right-Nityasree has rendered a temmangu in yadukulakambodi and one piece in Jonpuri in the pre-rec release.
He has composed a kriti in Kalyani during the coronation of the Mysore Mharaja.His humble respect to Tyagaraja lies in the Hindolam piece he has composed on the latter.

Lakshman · Post by **Lakshman** » 22 Dec 2005, 16:07

Here are the 27 tamil songs by HMB.

AnandamAna-kAmbhOji-Adi
ANDavan darishanam-jOnpuri-Adi
annai mAkALiyAm-kApi-Adi
Arukkum aDangAda-bEgaDa-Adi
Avan sheyalanri-hamIrkalyANi-Adi
bhAratiyE endan-jOnpuri-t/Adi
candranE-hindustani asAvEri-Adi
en annaiyE-khamAs-Adi
kAlam viparItamAccu-mukhAri-rUpaka
kaNNan maNivaNNan-kharaharapriyA-rUpaka
manadirkkisainda-shankarAbharaNa-Adi
manam aDanguvadE-tODi-Adi
mangaLa rUpiNiyE-jOnpuri-Adi
mangaLam pongiDum-mAND-Adi
mAvUr vaLam peruga-sindhubhairavi-t/Adi
mAvUr vaLar-jOnpuri-Adi
muruganukkoru-kalyANi-Adi
mUvAshai koNDa-kharaharapriyA-Adi
paccaiyAna-tODi-Adi
shAntamga kATSi-yadukulakAmbhOji-rUpaka
sundaram sEr-temmAngu-t/Eka
tAyiDattil-jOnpuri-t/Adi
tudikkaikkuriya-pUrNacandrikA-cApu
tungamAlviDai-suraTi-Adi
unnai ninaindu-navarAgamAlikA-Adi
vAlai manOnmaNI-naTabhairavi-rUpaka
vEdattin ucciyil-viruttam

cmlover · Post by **cmlover** » 22 Dec 2005, 19:40

seldom heard any of these rendered!
Does anybody have recordings? (perhaps TNS?)...

Thanks Harikesa

would love to see any of those compositions ; better rendered by someone...

Lakshman · Post by **Lakshman** » 22 Dec 2005, 21:03

>would love to see any of those compositions ; better rendered by someone...<
Do you want me to post the lyrics of any of these compositions?

rshankar · Post by **rshankar** » 22 Dec 2005, 22:22

CML,
Nityashree has released a commercially available CD on HKMB''s compositions. The song list is:
ambavANi - kIrvANI
BuvanEshwarIya - mOhanakalyANI
himagiri thanayE - shudhDHa DhanyAsI
krithivAsasE - pUrvIkalyANI
mangaLarUpiNI - jOnpurI - TAMIZH
samayamidhE - budhDHamanOharI
thenmAngu - yadhukula kAmBOjI - TAMIZH
vijayAmbikE - vijayanAgarI

Ravi

I never cease to be amazed at the repertoire of the DKP school of musicians!

Raja Chandra · Post by **Raja Chandra** » 22 Dec 2005, 22:40

He has composed a kriti in Kalyani during the coronation of the Mysore Mharaja.His humble respect to Tyagaraja lies in the Hindolam piece he has composed on the latter.

harikesha,

I understand he composed a tillana during the coronation of JCRW (1940) in kapi??

He has used poshaka mudra in few of his compositions (both KRW IV and JCRW). Here is an interesting anecdote:
Once krwiv suffered from severe mouth ulcers and was in great pains. DR.HMB was moved by the pain of his patron and did not sleep that night. Early in the morning he came with a unique composition - raja raja radhite in raga niroshta (non contact of lips) and thus praying for the maharaja?s speedy recovery. Unique characteristic of the composition was during singing the lips do not come in contact with the lips!

As for as his composition on saint Thyagaraja, i understand it was a Sanskrit kavya called srimat thyagaraja vijaya in the year 1940 and it consisted of 487 slokas and it was a comprehensive treatise on the life and times of the saint composer and his achievements and his contributions to music etc. It consisted of seven parts denoting sapta svaras.

cmlover · Post by **cmlover** » 22 Dec 2005, 23:44

RC

Thanks for that anecdote which I have heard before! It is now official!
Could somebody post the lyrics and if possible a rendering....

Raja Chandra · Post by **Raja Chandra** » 22 Dec 2005, 23:58

Thanks RC

But I am still puzzled about the statement that he felt Kannada was not fit for musical compositions. Could you throw some light on his reasonings? On the otherhand HMB( a non Kannadiga) did not feel the same way. Also were there other composers in Kannada in late 19th century ? I assume Purandara was always popular with CM folks and there must have been more who wanted to follow on his footsteps!

CML,

It certainly is an enigma, which defies any logical answers. Any analysis at this point of time would not be fair. But certain facts may only add to this enigmatic stance of MV.

A contemporary of MV and a fellow student of Patnam Subramaya Iyer was Bangalore Kempe Gowda (a native coimbatore) is known to be impromptu singer in Kannada. He was once was sitting in a shop at Mysore and was inspired by a curd-selling woman chiming ? mosaru beke mosaru and he used this as a pallavi and sang for hours on end! Another time he used a popular Kannada tongue twister ? tarikere kere yeri mele moor kari kuri maitittu (meaning in tarikere town?s tank bund three black sheep?s were grazing!) - to sing and astound the audience by his immaculate rendition.

Another contemporary of MV in mysore asthan was Bidaram Krishnappa and also a favorite of KRW IV. His forte was singing Kannada devara nama and Kirtana?s. He is largely credited for popularizing the puranadara Dasa?s compositions.

May be MV just did not want to follow the beaten track and found it more appropriate to compose in Sanskrit and Telugu.

Acharya had many admirers among the contemporary giants of Kannada literature. Janana Peeth awardee Masti Venkatesha Iyengar (also an official of the Mysore Govt.), G.P. Rajaratnam and D.V.Gundappa . In fact D.V.G in one of his book elaborates on this issue. On DVG?s request MV visit him at Bangalore. He met daily for about 15 days for few hours. Despite his effort to elicit reasons in this regard, he could not succeed.

So your guess is as good as mine !!

meena · Post by **meena** » 23 Dec 2005, 00:03

RC

"He has used poshaka mudra in few of his compositions (both KRW IV and JCRW)".

what is "poshaka mudra"?

meena · Post by **meena** » 23 Dec 2005, 00:07

Lji

could u pl. post the lyrics for MV's kannada kriti - karuNisau tAye mAye SivajAye rAgA: saraswati manOhari. thanku

cmlover · Post by **cmlover** » 23 Dec 2005, 00:20

Thanks shankar
I'll track them down...

Lakshman · Post by **Lakshman** » 23 Dec 2005, 02:23

Meena: I thought I had all of Vasudevachar's songs but this kannaDa song is not in my database.

Raja Chandra · Post by **Raja Chandra** » 23 Dec 2005, 23:37

meena,

When you say Asthan Vidwan, it means they were paid a monthly honorarium, may be in some cases house to live, monthly ration etc in addition to various gifts etc. But they were free to perform outside also. Thus the King was a Poshaka ? a patron. Some of the Asthan Vidwan?s have embedded the poshaka?s name in their compositions. It is known as poshaka mudra.

harikesa · Post by **harikesa** » 24 Dec 2005, 19:08

RC.
Sabesha Iyer,the acclaimed musician,says that HMB composed a kalakshepam called 'Tyagaraja Charitram' in addition to his very famous 'Valli Parinayam'which had this great kriti 'Valli Nayaga Neeve Gatiyani' in Shanmukhapriya.The other famous kalakshepam is 'Sulochana Sati'.

srkris · Post by **srkris** » 24 Dec 2005, 21:01

I am not familiar with many of HMB's compositions. Are these kalakshepams/kritis available today?