Muthuswamy Dikshitar Kritis on Lord Shanmukha

Carnatic composers (other than performing vidwans)
abadri
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#26

Post by abadri » 24 Dec 2005, 05:59

Kiran, great effort. Thanks!
Hope to hear more of the related anecdotes as we progress.

CMLsir, here are a few more rendiditions of srI nAthAdi

1. a DKJ recital from a Dikshitar day cocnert
[rapidshare links deleted]

2. Dr. Ramanthan & Chalakudy from an Academy concert
[rapidshare links deleted]

3. A rendition by Sirkazhi Govindarajan
[rapidshare links deleted]
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kiransurya
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#27

Post by kiransurya » 24 Dec 2005, 17:13

Cheers abadri and CMlover
kiran
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cmlover
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#28

Post by cmlover » 24 Dec 2005, 21:11

Superb Badri!
Let us also discuss the style of presentation too! DKJ is the authentic MD school, SR and seerkazhi are not!

kiran
could you comment on the highlights...
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kiransurya
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#29

Post by kiransurya » 25 Dec 2005, 00:03

CMlover! Personally I dont think that Iam big enough(by all means) to comment on people like DKJ. However, I would add something here. I have always felt that singing Dikshitar krithis takes a lot more than just sruthi and laya alignment. They are complex in many ways. Dikshitar krithis are written in such a way that if one can render a song properly, then they will understand the intricasies of the raaga without having to practise it specially. So they have to be rendered with utmost care, not only because of their Musical aspects but also because of the details about mantra, Tantra and Purana incorporated into these krithis. DKJ-DKP school, like
B Raajam Iyer are blessed to learn Dikshitar krithis from Ambi Dikshitar. Who else has that privilege? DKJ-DKP`s rendition of Dikhsitar krithis is impeccable in that, they be will sung with such a flawless diction, and they are ladden with Bhava, not mention that their rendition brings the full sketch of the raaga making their performance of the piece all too encompassing. It is these two people, Rajam Iyer and SSI who were Instrumental In popularising Dikshitar krithis. As for the musical aspects, Their ability to perform these masterpieces with such a vidwat speaks for itself. I find Ramnathan`s music more of brigha oriented like SSI and TNS. This is the first time Iam listening to Sri Kazhi, so I can hardly say anything about him. . So, I would say that DKP-DKJ school with Rajam Iyer and SSI-MSS did justice to Dikshitar than anyone else (Not that others dont sing them well. It is just that these people are better at them. So, please dont take offense)
Apart from these general things I personally cant imagine myself analysing the performance skills of these stalwarts.
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cmlover
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#30

Post by cmlover » 25 Dec 2005, 02:01

kiran
your comments are quite appropriate. DKP/DKJ school pay great attention to the sahityam and diction especially in regard to MD since they got it from ambi dikshitar and let us also not forget the giant Naina Pillai. SR as an academician tends to innovate as well as his students and is not that tradition bound. Seergazhi is essentially Tamizh Isai and also due to the association with filmdom tends to innovate like KJY who in spite of his excellent diction does not stick to rules.Needless to say that we need all these styles for a vibrant CM.

couple of comments

The pallavi is in the dvitIya vibhakti (note the ending bhajasi)

Sri Chidaanandanaadohamithi Santhatham Hrudhinibhajasi.
Sri ChidaanandanaadaH aham = I am the consciousness-bliss sound (or aham brahmOsmi as you say) and the implied meaning is I am identical with my Guru..
hrudini bhajasi is an irregular formation ( I guess it was hrudi bhajasi = you adore in your heart!)

In the anupallavi
dInavanodyukta divya taro = dInasya samoohaH dInavanaH tasmin udyuktaH (dInavana+udyukta) = the divine (wish-granting) tree which is active or diligent among the distressed..

Divyaughaadi = divya +Ogha + aadi = divine multitude etc.,

I hope DRS will join in these discussions and clarify the Sri Vidya terms as well as add to our enjoyment of the raga and its derivatives....
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kiransurya
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#31

Post by kiransurya » 25 Dec 2005, 02:15

Yes, I would like to know more about Sri Vidya. People in my family are Sri Vidyopaasakaas. So, Iam interested in it. Ask DRS to join us. May be he/She can explain it in detail. You are right in saying that we we need all the styles.
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meena
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#32

Post by meena » 26 Dec 2005, 07:00

Deleted
Last edited by meena on 06 May 2008, 04:21, edited 1 time in total.
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kiransurya
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#33

Post by kiransurya » 26 Dec 2005, 07:16

Meena!
Its simply superb.
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rshankar
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#34

Post by rshankar » 26 Dec 2005, 08:18

Meena,
What a wonderful write up: worthy of MD himself! This is a slight digression, so please indulge me:
It is a great pleasure for me to read this erudite explanation by RKSK, Having known him from before he turned professional, it is uniquely satisfying to watch him go from strength to strength! He has also started tuning songs, and in this season, Vijay Siva has introduced a couple, to very critical acclaim! Best wishes to him!
Ravi
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Sahana-priyan
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#35

Post by Sahana-priyan » 26 Dec 2005, 09:29

All,
Not to digress, Does anybody have any knowledge(where, when,intricacies, meaning etc.) on Dhandayuthapaaneem krithi of Dikshitar in Ananda Bhairavi. I heard that from RKS once in a house concert.

Does anybody have the audio of this krithi as well?


Thanks.
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kiransurya
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#36

Post by kiransurya » 26 Dec 2005, 17:45

Hi Sahana Priyan
I might have the krithi (audio) with me. CMlover and I are discussing the meanings of DKishitar krithi`s with other. If you want, I can explain the meaning and other related stuff of the krithi with the help of others. Will check if I have the audio
Cheers
Kiran
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kiransurya
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#37

Post by kiransurya » 26 Dec 2005, 23:48

Hello, I have searched my database and couldnt find the song. Sorry. However, here is the word to word meaning of the song. This song is on Shanmukha of palani.
Pallavi: Dandaayudhapaanim-One whohas got the dandaayudham in his hands. Danitha-Punish, Diathya Srenim-Crucial Demons(raakshasaas). Dayaanidhim-One who is repository for kindness Bhajare-Worship. Hrudaya-heart/Mind, Sathatham-Always, Suravinutham-One who is worshipped by the Gods
Oh heart always worship Dandaayudhapaani, who is the vanquisher of the demons, who is treasure of kindness, and who is worshipped by all the Gods.

Anuplallavi:
Chandaansu-Sun, Sathakoti-Milllions,Samkaasam-bright(means that he is brighetr than millions of suns together).Jagadeesa-Ruler/owner of the worlds, Akhandaroopa-One who has got an invincible figure, Andaja(born out of an egg)mani(gems)kundala(Ear rings)-here andajamani is a single owrd and it means emeralds because they refer emeralds as "garuda Paccha". Garuda as you know is a bird(bird are oviparous meaning that they will be born from eggs) paccha (its a telugu word which iam using for explanation purposes)means green. mandithaanga-decorated body, Sukumaaram-Who has got a very soft and beautiful body. Khanditha-To break/ Destroy, Taarak sooram-Taarakaasura, Panditha thara-He is greatest of all pandithaas, nava veera- One who is always strong with rejuvenated energy like a new warrior. Chnadi-One of the incarnations of sakthi, Eesa-owner/husband, Avathaaram-Incarnation.
So he is brighter than millions of suns, he is the ruler of the world and he wears ornaments made of emeralds all over his beautiful body, He is the one who killed the Taarakaasura, and he is the one who is greatest of all pandithaas and who has got rejuventaed energy like a warrior. Oh heart worhsip him all the time.

Mandasmitha-gentle smile, Vadan-Face Aravanidam-Lotus(he has got a lotus face which always smiles)maathula Govindam-ne who is the nephew of givinda(vishnu) because Paarvathi is the sister of Lord vishnu. hence Muruga is nephew of Vishnu(Stroy goesback to dwaaparayuga where Sakthi is born as Krishna`s sister in the form of yoga maaya). Saranaagatha-(Saranaagathi means asking for protection) Sura(gods) brundam(groups)-Gods are being protected by him. bahu-many Maanitha- being Prayed, Muni-Saints, brundam-Groups. paripaalitha-rule Muchikundam-Muchikunda. pranatha-To bow, Virinchi-Brahama, Mukundam-Vishnu-Muruga is bowed by Vishnu and Brahma. Adhara-Lips, Madhura makarandam-Sweet as in nectar. Mruduthara-Smooth/Soft, vachana-Talk, Anantham-Infinite(he has got beautiful lips which always utter very soft talk which is not at all harsh). Maaya-illusions, Molakandam-Source He is the source for maaya. Skandham- one of the names of muruga, Sam-happiness, Dam-to give. He gives happiness. Prudhivaathmaka gandham-One who is integral to the Gandham(smell) of the earth-Means he has got the qualities of earth like endurance and fixedness and who is the quality of earth himself) , Gaganaa-Sky, Athmaka-Integral Suma-Flowers Ganhadam-Smell(qualities of air and he is the one who gives the air its quality) vahni-Fire maya-filled with Deepa-Lamps Brindam-groups, Amruthamaya rasa brundam-he is the amurtha in the rasam which means that he is the Amurthathathava of the rasa(water) (Actually these five lines need I think a bit of more explanation. In yoga saastra, Fire-Teja,, earth-Phrithwi,air-Vayu, water-Aapa and Sky-Akasha are the five (Pancha) basic elements that are the constituents of all living matter. Together these five are called Panchamahabhoota. These five elements are the building units of every thing, including medicines and living beings. Depending on the majority of the content, the matter is classified as Parthiva, Apya, Taijasa, Vayaviya and Akashiya respectively. The permutation and combination of these elements and its quantum in a given matter decides its properties. Mahabhoota is the smallest divisible unit of any matter. The space without which exixtence of any matter is impossible is called the Akashamahabhoota that was first evolved from the akasha-tanmatra (only Akasha element). The Sound (Shabda) is the main sense attribute and Apratighatatwa (Nonresistance?) is its main property. Next to evolve from Akashamahabhoota. Sparsha (touch) is Vayumahabhoota that inherits attribute of Shabda. Chalatwa as its main property. From Vayumahabhoota the next to evolve is Agnimahabhoota. The main sense attribute of Agni is Roopa (Vision) and the main property is Ushnatwa (heat). It also inherits the sense attributes of Shabda and Sparsha from the earlier Mahabhootas.The next in line to evolve from Agnimahabhoota is Aapamahabhoota (Jalamahabhoota). Rasa (taste) is its main sense attribute and Dravatwa (liquidity) is the main property, along with that inherited from earlier Mahabhoota. The last to evolve is Prithwimahabhoota. Kharatwa (roughness) is the main property and Gandha (Smell) is the main sense of this Mahabhoota along with properties inherited from the earlier once) So in this context It muruga who gives these five elemnts their corresponding qualities. Sriguruguham-he is the guruguha Aananda-Since he being the guru he will be the happiness(not that comes from the material world, but the one that come from the Knowledge of everything) Sundara-beautiful Kara-hands, charana-Legs aravindham-lotus. radha-Chariots, gaja-Elephants, Turaga-Horses brindam-Groups he is surrounded by all the kinds of royal transport systems which are eager to serve him. Satya-true, Gnaana-knowledge, Annandam-Happiness.he is the source of true happiness. Swachandam- he is very pure. he is an epitome of happiness that come out of true knowledge
So in charana, Dikshitar refered to murgua as someone who is worshipped by Vishnu and Brahma, Who is the nephew if Vishnu, and who is worshipped by all the gods, Who give panchabhootas their respective qualities, One who is ndefinible by material senses and infinte, One who is the basis and source for the worldly illusions and one who is true happiness that comes out of pure knowledge. Dikshitar composed this one in Anandabhairavi which as the name indicates gives happiness to the listener. Coming to the grammatical aspects of the song, If Iam right it is written in Dvitheeya Vibhakthi and If you see the Saahtiyam, he incorporated 18 words like Aravindam, Govindam makarandam gandham so and so forth. This kind of incorporation is called "Sundaram" Also he used 10 words which have bindupoorvaka "Da " kaaram like Danda, Anda Danditha manditha ... making it a praasa alankaaram. Iam not good at these aspects of sanskrit. So correct me If Iam wrong
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cmlover
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#38

Post by cmlover » 27 Dec 2005, 00:55

Meena
Great job! Is it possible to post the lyric of dandaayutapaaNim so that kiran's discussion can be followed more easily....
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meena
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#39

Post by meena » 27 Dec 2005, 01:03

daNDAyudhapANim daNDita daitya shrENim. rAgA: Ananda bhairavi / Tala: rUpakam

P: daNDAyudhapANim daNDita daitya shrENim dayAnidhim bhajarE hRdaya satatam sura vinutam
A: caNDAmshu shatakOTi saHNkAsham jagadIsham akhaNDarUpam aNDaja maNi maNDalamaya kuNDalAdi maNDitAHNga sukumAram khaNDita tArakashUram paNDitatara navavIram caNDikEshAvatAram
C: mandasmita vadanAravindam mAtula gOvindam sharaNAgata sura bRndam bahumAnita munibRndam paripAlita mucukundam praNata viriHnci mukundam adhara madhura makarandam mRdutara vacana manantam mAyAmUla kandam skandam shandam pRthivyAtmakagandham gaganAtmaka sumagandham vAyumaya dhUpagandham vahnimaya dIpabRndam amRtAtmaka rasabRndam shrI guruguhamAnandam sundara kara caraNAravindam ratha gaja turaHNga bRndam satyajHnAnAnandam ati svac chandam

Note:
This kriti refers to the hill temple at pazhani near the town of diNdugal.
The charanam carries references about the personifications of the five elements in items of everyday worship.
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cmlover
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#40

Post by cmlover » 27 Dec 2005, 01:08

Thanks a million Meena...
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Sahana-priyan
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#41

Post by Sahana-priyan » 27 Dec 2005, 03:42

Kiran Surya, Meena and CML sir,
Thank you. I will see if i can get the audio file from people who recorded when RKS sang.
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kiransurya
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#42

Post by kiransurya » 27 Dec 2005, 03:59

That would be great
Cheers
Kiran
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rshankar
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#43

Post by rshankar » 27 Dec 2005, 09:09

Kiran,
Absolutely fabulous explanations! Keep them coming!

Kiran/CML,
My high school sanskrit is fast receding into a thing of the past, but if I recollect correctly, niDHi is the ocean, right (as in karuNAniDHi, payOniDHI etc....)?, and pANi is hand and not just fingers (doesn't janaka say to rAmA as he is giving sIthA away...pANim grihIsva pANinAM?)?
Ravi
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kaumaaram
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#44

Post by kaumaaram » 27 Dec 2005, 15:33

For the benefit of those who can read Sanskrit, here is the link:

http://www.kaumaram.com/misc/guruguha.pdf

Kaumaaram
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srkris
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#45

Post by srkris » 27 Dec 2005, 18:37

Nidhi -
1. Sea
2. Store/Hoard/Treasure

pANi-
1. Hand, or holding something in the hand
2. Giving one's hand in marriage.
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kiransurya
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#46

Post by kiransurya » 27 Dec 2005, 21:59

Srkris
PANi means hand. Paani grahanam means giving one`s hand in marriage(marriage)
Nidhi as you said would treasure. Jala Nidhi means Sea/ocean
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prashant
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#47

Post by prashant » 28 Dec 2005, 12:49

shaDananE in kamAs is a beautiful little krithi which I heard one of Vedavalli Amma's students render. Would appreciate an explanation of this krithi as well as audio if possible. Any speculation on which shrine this is composed on?

Ragam : kamAs

Thalam : Adi

Pallavi :
ShaDAnanE sakalam arpayAmi sadA tvatpAdabhaktim yAmi { ShaDAnanE }

samashti caraNam :
ShaDAdhArAdi shaktyAtmakE shaT trimshatatvakalAtmakE
ShaDanga shruti vicitrAtmakE ShaTkONamaddhyasthitAtmakE
IDyamAnAri nAshAtmakE IshvarAdinuta guruguhAtmake
DhuNDhi gaNEshAnandAtmakE Damaru shUlAdidharakarAtmakE { ShaDAnanE }
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kaumaaram
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#48

Post by kaumaaram » 28 Dec 2005, 14:19

Just give me sometime. I will upload both Subrahmanyena (Suddha Dhanyasi) and Shadanane (Kamas) both rendered by Vedavalli.

Kaumaaram
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prashant
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#49

Post by prashant » 28 Dec 2005, 16:54

Thank you Sri kaumAram. Looking forward to shaDAnanE.
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kiransurya
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#50

Post by kiransurya » 29 Dec 2005, 22:49

Shad(six)aanane(faces)- One with Six faces Sakalam-everything Samarpayaami-I offer, Sadaa-Always Tatpaada-His feet, Bhakthi yaami-I get
I give everything to I have to the god of Six faces and I worship his lotus feet all the time.
Shadaadhaara-Six yoga chakras(Moolaadhaara,Aadhaara, Swadishtaana....) Sakhtyaathmake-One who is the power(He is the power in the all the six chakraas, which means that he is the kundalini sakthi)
Shat thrimsaThatvaTatvaas kalaathmake-One who is the kalaaswaroopa of the 36 tathvaas, Shatkona madhya Sithyaathmakey-One who lives in yanthra with six Konas(six angles/Faces/petals)Eedyamaanaadhi naasathmakey- One who destroys the eeshanathrayaas that trouble the mankind
Eeswaraadhi nutha Guruguhaathmake-He is gurughaa himself who is worshipped by Shiva and others. Dundi ganeshaanandaathmake-One who gives happiness todundi ganesaa Damaru Soola Dhara Karaathmake-One who has Damaru and Soola in his hands
I worship and give everything that I have, to the feet of that God who has six faces, Who lives in a yanthra with six petals and one who is epitome of all the 36 tathvaas and who bestows happiness to mankind by detroying the material troubles and who makes Ganesa happy and who is none other than Guruguha. If i dint get it wrong, It must have been written in sapthami vibhakthi and must be on the Shrine in Kulikkarai. However, Iam not so sure about the shrine thing. Please post the details of the shrine if anybody has an idea
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