Oothukkadu Venkata Kavi (OVK)
-
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
-
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
Corrected version
Eka danta vinAyakam bhajAmI aniSam |
mAnasa ISa priyakara caturam guru guha vinutam aniSam ||P||
nAgaratna maNi kuNDalAlankRtam |
nava vyAkaraNa panDitAdi pUjitam |
yAga yOga japa tapa dhyAnAdi kArya vara prasiddham |
sakala lOka pAlakam sangIta SAstra rAga tALa bhAvapradam sadAnanda kalitam ||AP||
mAtanga mukha candra bimba vadanam |
mahA tripura sundarI nandanam |
tATanka mukha bhakta manOratha
abhISTa vara pradAyakam sundaram |
nAga lOlam nirAmaya ghOSham |
naLina vilOcana ravi kOTi prakASam l
vEda nigama sakalAgama sannuta vitaraNa guNa SIlam bAlam |
vEda vEdAnta mOdaka chaturam vyAsa vinuta mahanIyam vAram vAram vAram ||C||
Eka danta vinAyakam bhajAmI aniSam |
mAnasa ISa priyakara caturam guru guha vinutam aniSam ||P||
nAgaratna maNi kuNDalAlankRtam |
nava vyAkaraNa panDitAdi pUjitam |
yAga yOga japa tapa dhyAnAdi kArya vara prasiddham |
sakala lOka pAlakam sangIta SAstra rAga tALa bhAvapradam sadAnanda kalitam ||AP||
mAtanga mukha candra bimba vadanam |
mahA tripura sundarI nandanam |
tATanka mukha bhakta manOratha
abhISTa vara pradAyakam sundaram |
nAga lOlam nirAmaya ghOSham |
naLina vilOcana ravi kOTi prakASam l
vEda nigama sakalAgama sannuta vitaraNa guNa SIlam bAlam |
vEda vEdAnta mOdaka chaturam vyAsa vinuta mahanIyam vAram vAram vAram ||C||
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
I should have checked SrI krishNagAnam, the books that have OVKs compositions first:
The word in question is not tATanka, but I think it is Atanka...
I will let DRS/CML/Rajani help us figure out what that means...
Another change is in the madhyamakAlam of the caraNam: it is
vEda nigama sakalAgama sannuta vitaraNa guNa SIlam bAlam|
vEda vEdAnta bOdhaka chaturam vyAsa vinuta mahanIyam vAram vAram vAram ||C||
bOdhaka = Intrsuct(or)ing...
Ravi
The word in question is not tATanka, but I think it is Atanka...
I will let DRS/CML/Rajani help us figure out what that means...
Another change is in the madhyamakAlam of the caraNam: it is
vEda nigama sakalAgama sannuta vitaraNa guNa SIlam bAlam|
vEda vEdAnta bOdhaka chaturam vyAsa vinuta mahanIyam vAram vAram vAram ||C||
bOdhaka = Intrsuct(or)ing...
Ravi
-
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Arasi,
As I understand it from my mom and others, for years, OVK's compositions were considered to be somewhat tarnished because a few of them were used in bharatanATyam, and as everyone knows, that whole cuppa tea was considered 'infradig'. It is only of late that OVKs scholarship and extreme versatility has been recognized.
Since he was in communion with a lord who danced eternally in front of him while he composed, the songs have a natural cadence to them - the words and phrases trip, skip, mince, sashay, and pirouette in such effortless elegance that it is no surprise that dancers are drawn to these compositions: they also provide opportunities for beautiful abhinaya - both sthAyI and sanchArI....
Ravi
As I understand it from my mom and others, for years, OVK's compositions were considered to be somewhat tarnished because a few of them were used in bharatanATyam, and as everyone knows, that whole cuppa tea was considered 'infradig'. It is only of late that OVKs scholarship and extreme versatility has been recognized.
Since he was in communion with a lord who danced eternally in front of him while he composed, the songs have a natural cadence to them - the words and phrases trip, skip, mince, sashay, and pirouette in such effortless elegance that it is no surprise that dancers are drawn to these compositions: they also provide opportunities for beautiful abhinaya - both sthAyI and sanchArI....
Ravi
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Before we take up kalyANarAma, I just wanted to make an observation about the characterization of gaNapatI's face:
In this composition, Sri OVK says:
mAtanga mukha candra bimba vadanam
mahA tripura sundarI nandanam...
I guess the allusion could be: 'how could the son of the most beautiful woman (in the 3 worlds) not be handsome?'
In his gambhIranATTai kritI (srI vighnarAjam bhajEham) OVK refers to him as 'danti sundara mukham' ...and MD refers to him as 'mArakOTi prakAsham'. For me it used to be a bit of an oxymoron to say that an elephant face was handsome - but over time, somehow it seems to make sense...
Ravi
In this composition, Sri OVK says:
mAtanga mukha candra bimba vadanam
mahA tripura sundarI nandanam...
I guess the allusion could be: 'how could the son of the most beautiful woman (in the 3 worlds) not be handsome?'
In his gambhIranATTai kritI (srI vighnarAjam bhajEham) OVK refers to him as 'danti sundara mukham' ...and MD refers to him as 'mArakOTi prakAsham'. For me it used to be a bit of an oxymoron to say that an elephant face was handsome - but over time, somehow it seems to make sense...
Ravi
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Meena,
Here is my attempt...I have worked with only the first 2 caraNas...the third is unfamiliar to me, and I want to check something first before trying to understand what it means...
kalyANarAma. raga: hamsanaadam. taLa: adi ??
P:
kalyANarAma raghurAma rAma kanaka makuTa marakata maNi lOla hAra dasharatha bAla sItA
A:
mallikAdi sugandhamaya nava mAlikAdi shObhitagaLEna ullAsa parishIlana cAmara ubhaya pArshvEna kuNDala kElana
C1:
Agata suravara munigaNa sajjana agaNita janakana ghOSita mangaLa rAghava raghurAma rAma janakajA ramaNa manOhara sItA
C2:
gautama vashISTa nArada tumburu kAshyapAdi munigaNa vara pUjita aupavAhya skanda dEsha alankrta haima simhAsanasthita sItA
C3:
bhAgadEya bahumAna sudhAya ubhatArpita dishi dishi rakSakavara mEgha vAhanaravAhanAdhinuta EkarAja mahArAja mamarAja
P:
kalyANa = (having a)beautiful/illustrious/noble/generous/auspicious form â€" taken with the last word of the pallavI, it probably refers to rAma as a bridegroom (kalyANakOlam) here.
rAma = Lord rAmA
raghurAma = that lord of raghukula
rAma = rAmA
kanaka = golden
makuTa = crown
marakata = emerald
maNi = pearls/gem stones â€" could also symbolize other ornaments/adornments
lOla = dangling
hAra = garlands/ (maNi hAra = pearl necklace)
dasharatha = dasharatha, the king of ayOdhyA
bAla = son of
sItA = sItA (daughter of janakA â€" jAnakI, princess of mythilA â€" mythilI, daughter of the earth â€" adrijA)
Oh! Illustrious/noble rAma, son of the mighty dasharatha, you appear before me wearing a golden crown studded with emeralds and other gems, with pearl necklaces and garlands (dindu mAlai) dangling gracefully from your neck, as sItA’s bridegroom. (OVK could also have ‘seen’ the divine couple together â€" referred to as the ‘trilOkyagrihadampatI’ - in front of him as bride and groom (var-vadhU)
A:
mallikAdi = jasmine and other
sugandhamaya = fragrant
nava mAlikAdi = fresh and new garlands
shObhita = splendidly adorned/embellished, beautiful
gaLEna = neck
ullAsa = happy/brilliant
parishIlana = application of
cAmara = fan (made of plumes?)
ubhaya pArshvEna = both sides
kuNDala = ear ornaments
khElana = moving to and fro
The poet goes on to describe the vision in front of his eyes: rAma is adorned and embellished by garlands made from fresh and fragrant flowers, with dangling ear-rings gracefully moving to and fro, and is constantly fanned from either side.
C1:
Agata = (has) come
suravara = the best of the gods
munigaNa = the sages
sajjana = (sat + jan) = virtuous/respectable people
agaNita = countless/numerous
janagaNa = group of people (paTTALam?)
ghOSita = tumultuous cries (of)
mangaLa = auspicious/ portending good omen
rAghava = descendant of the raghu
raghurAma = rAmA of the raghu dynasty
rAma = rAma
janakajA ramaNa = groom/husband of janaka’s daughter
manOhara = with a pleasing form that captures/steals our minds
sItA = sItA
OVK goes on to say that rAmA who has stolen his heart (reminds me of tulsidAs who says â€" mErO man hAr liyO jAnakI ramaNvA â€" the poets say that they did not lose their hearts, but that their hearts were stolen â€" chitchOr â€" a very endearing way to express their complete surrender), the one who has delighted the heart of sItA â€" (janakajA (hrit) ramaNA), has appeared to him surrounded by a horde of sages, virtuous men, and numerous others who auspiciously proclaim him/herald his arrival as an illustrious descendant of the raghu dynasty.
C2:
gautama = gautama (the sage) â€" husband of ahalyA, father of janaka’s guru/purOhit shatAnanda
vashISTa = vasishta, the preceptor of dashartha
nArada = the divine vaiNika whose vINa is the melodious mahatI â€" considered to be the father of music…and purandara dasa is considered to be his incarnation.
tumburu = a muni/gandharva (?)
kAshyapAdi = kAshyapa and other
munigaNa = sages
vara = enclosed by
pUjita = prayed to
auDavAhya = (these) five performed
skanda dEsha alankrta = no idea
haima = golden
simhAsana = throne
sthita = established
sItA = sItA
Now, in OVK’s imagination, rAmA has been enthroned on a golden throne, and is prayed to by the 5 munis (gautama, tumburu, vasishTa, nAradA, and kAshyapa) who surround him.
CML/DRS/Rajani and other resident pundits: please correct/augment as needed.
I was hoping for more discussions on possible meanings/interprettation - after all, these compositions do have a prominent place in many (bharatanATyam/kucupiDi) mArgams - so, they will help with sanchArIs...
As an unconnected aside, hamsanAdam is an ironic name for a mellifluos rAgam - a swan's cry/sound is rather hoarse, and completely unmelodic...like the cry of the peacock which is raccuous rather than euphonious...(maybe these animals are like Goscinny and Uderzo's Bard Cacofonix from the village of indomitable Gauls!).
Ravi
Here is my attempt...I have worked with only the first 2 caraNas...the third is unfamiliar to me, and I want to check something first before trying to understand what it means...
kalyANarAma. raga: hamsanaadam. taLa: adi ??
P:
kalyANarAma raghurAma rAma kanaka makuTa marakata maNi lOla hAra dasharatha bAla sItA
A:
mallikAdi sugandhamaya nava mAlikAdi shObhitagaLEna ullAsa parishIlana cAmara ubhaya pArshvEna kuNDala kElana
C1:
Agata suravara munigaNa sajjana agaNita janakana ghOSita mangaLa rAghava raghurAma rAma janakajA ramaNa manOhara sItA
C2:
gautama vashISTa nArada tumburu kAshyapAdi munigaNa vara pUjita aupavAhya skanda dEsha alankrta haima simhAsanasthita sItA
C3:
bhAgadEya bahumAna sudhAya ubhatArpita dishi dishi rakSakavara mEgha vAhanaravAhanAdhinuta EkarAja mahArAja mamarAja
P:
kalyANa = (having a)beautiful/illustrious/noble/generous/auspicious form â€" taken with the last word of the pallavI, it probably refers to rAma as a bridegroom (kalyANakOlam) here.
rAma = Lord rAmA
raghurAma = that lord of raghukula
rAma = rAmA
kanaka = golden
makuTa = crown
marakata = emerald
maNi = pearls/gem stones â€" could also symbolize other ornaments/adornments
lOla = dangling
hAra = garlands/ (maNi hAra = pearl necklace)
dasharatha = dasharatha, the king of ayOdhyA
bAla = son of
sItA = sItA (daughter of janakA â€" jAnakI, princess of mythilA â€" mythilI, daughter of the earth â€" adrijA)
Oh! Illustrious/noble rAma, son of the mighty dasharatha, you appear before me wearing a golden crown studded with emeralds and other gems, with pearl necklaces and garlands (dindu mAlai) dangling gracefully from your neck, as sItA’s bridegroom. (OVK could also have ‘seen’ the divine couple together â€" referred to as the ‘trilOkyagrihadampatI’ - in front of him as bride and groom (var-vadhU)
A:
mallikAdi = jasmine and other
sugandhamaya = fragrant
nava mAlikAdi = fresh and new garlands
shObhita = splendidly adorned/embellished, beautiful
gaLEna = neck
ullAsa = happy/brilliant
parishIlana = application of
cAmara = fan (made of plumes?)
ubhaya pArshvEna = both sides
kuNDala = ear ornaments
khElana = moving to and fro
The poet goes on to describe the vision in front of his eyes: rAma is adorned and embellished by garlands made from fresh and fragrant flowers, with dangling ear-rings gracefully moving to and fro, and is constantly fanned from either side.
C1:
Agata = (has) come
suravara = the best of the gods
munigaNa = the sages
sajjana = (sat + jan) = virtuous/respectable people
agaNita = countless/numerous
janagaNa = group of people (paTTALam?)
ghOSita = tumultuous cries (of)
mangaLa = auspicious/ portending good omen
rAghava = descendant of the raghu
raghurAma = rAmA of the raghu dynasty
rAma = rAma
janakajA ramaNa = groom/husband of janaka’s daughter
manOhara = with a pleasing form that captures/steals our minds
sItA = sItA
OVK goes on to say that rAmA who has stolen his heart (reminds me of tulsidAs who says â€" mErO man hAr liyO jAnakI ramaNvA â€" the poets say that they did not lose their hearts, but that their hearts were stolen â€" chitchOr â€" a very endearing way to express their complete surrender), the one who has delighted the heart of sItA â€" (janakajA (hrit) ramaNA), has appeared to him surrounded by a horde of sages, virtuous men, and numerous others who auspiciously proclaim him/herald his arrival as an illustrious descendant of the raghu dynasty.
C2:
gautama = gautama (the sage) â€" husband of ahalyA, father of janaka’s guru/purOhit shatAnanda
vashISTa = vasishta, the preceptor of dashartha
nArada = the divine vaiNika whose vINa is the melodious mahatI â€" considered to be the father of music…and purandara dasa is considered to be his incarnation.
tumburu = a muni/gandharva (?)
kAshyapAdi = kAshyapa and other
munigaNa = sages
vara = enclosed by
pUjita = prayed to
auDavAhya = (these) five performed
skanda dEsha alankrta = no idea
haima = golden
simhAsana = throne
sthita = established
sItA = sItA
Now, in OVK’s imagination, rAmA has been enthroned on a golden throne, and is prayed to by the 5 munis (gautama, tumburu, vasishTa, nAradA, and kAshyapa) who surround him.
CML/DRS/Rajani and other resident pundits: please correct/augment as needed.
I was hoping for more discussions on possible meanings/interprettation - after all, these compositions do have a prominent place in many (bharatanATyam/kucupiDi) mArgams - so, they will help with sanchArIs...
As an unconnected aside, hamsanAdam is an ironic name for a mellifluos rAgam - a swan's cry/sound is rather hoarse, and completely unmelodic...like the cry of the peacock which is raccuous rather than euphonious...(maybe these animals are like Goscinny and Uderzo's Bard Cacofonix from the village of indomitable Gauls!).
Ravi
-
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
-
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Meena, Thanks for the sangeetham.com tip...
I just checked... most of the threads are still there in Google cache.
The search string for google is:
Oothukkadu Talk site:sangeetham.com
and then for each item, click on Cached..
I have so far read only a few threads from the cache. It looks like the lyrics and the music are passed on down through the generations of family members.
It is not clear to me, for the new compositions that are found by Ravikiran, if the ragas and swara notations are mentioned or not.
I just checked... most of the threads are still there in Google cache.
The search string for google is:
Oothukkadu Talk site:sangeetham.com
and then for each item, click on Cached..
I have so far read only a few threads from the cache. It looks like the lyrics and the music are passed on down through the generations of family members.
It is not clear to me, for the new compositions that are found by Ravikiran, if the ragas and swara notations are mentioned or not.
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
-
- Posts: 35
- Joined: 20 May 2005, 05:20
Hello,
Here is a lovely one on Goddess Saraswati, in Kalyani, set in vilamba kalam in Adi talam, Tishra gati, has lovely swaraksharas and striking raga sancaras. It also has several lines starting before the beat, which adds to its beauty.
The IFCM is getting some of these masterpieces translated by experts like Dr P P Narayanaswami, Dr Vidyasankar Sundaresan, Dr Madhavan and Smt Choodamani but we would like other interpretation and thoughts from readers here.
Music lovers can also log on to groups.yahoo.com/group/ovkmusic and share your ideas there. The site also enables you to download notations, lyrics and/or meanings of some songs like his Saptaratnas, Navavaranams etc.
Bhargavi
==================
kalyANi Adi (Tishra gati)
Pallavi: sarasijabhava jAyE saraswati namostutE
sarvadA sadA padAravindam bhajAmyaham
A.P: paramudAkaram dEhi (dEvi) paripAhi
parAdi bhArati sowvidAyini sanAtani
Charanam: sharadindumukhi sumukhi
AanalambAvaramita cathurmukha
sanandanAdi samstuta vibhavE
kara vara dhrita vINA sahitE SujanahitE
kAmita phaladE Amita phaladE
kalpalatE sulabhE
Pallavi: Oh Goddess Saraswati, queen of the Lotus-born Brahma! I bow down to You & always meditate upon Your lotus-feet.
A.P: Oh Supreme & Eternal Goddess of speech, Bhaarati! Please protect me and bestow upon me That Supreme Bliss, longed for by one & all.
Charanam: Your beautiful face, comparable to the autumnal moon, has even the Four-faced Brahma longing for. You are worshipped by the likes of Sanandana; you are holding the Veena in Your hands; you are easily accessible; you bestow unlimited auspiciousness and are like the celestial wish-tree.
Here is a lovely one on Goddess Saraswati, in Kalyani, set in vilamba kalam in Adi talam, Tishra gati, has lovely swaraksharas and striking raga sancaras. It also has several lines starting before the beat, which adds to its beauty.
The IFCM is getting some of these masterpieces translated by experts like Dr P P Narayanaswami, Dr Vidyasankar Sundaresan, Dr Madhavan and Smt Choodamani but we would like other interpretation and thoughts from readers here.
Music lovers can also log on to groups.yahoo.com/group/ovkmusic and share your ideas there. The site also enables you to download notations, lyrics and/or meanings of some songs like his Saptaratnas, Navavaranams etc.
Bhargavi
==================
kalyANi Adi (Tishra gati)
Pallavi: sarasijabhava jAyE saraswati namostutE
sarvadA sadA padAravindam bhajAmyaham
A.P: paramudAkaram dEhi (dEvi) paripAhi
parAdi bhArati sowvidAyini sanAtani
Charanam: sharadindumukhi sumukhi
AanalambAvaramita cathurmukha
sanandanAdi samstuta vibhavE
kara vara dhrita vINA sahitE SujanahitE
kAmita phaladE Amita phaladE
kalpalatE sulabhE
Pallavi: Oh Goddess Saraswati, queen of the Lotus-born Brahma! I bow down to You & always meditate upon Your lotus-feet.
A.P: Oh Supreme & Eternal Goddess of speech, Bhaarati! Please protect me and bestow upon me That Supreme Bliss, longed for by one & all.
Charanam: Your beautiful face, comparable to the autumnal moon, has even the Four-faced Brahma longing for. You are worshipped by the likes of Sanandana; you are holding the Veena in Your hands; you are easily accessible; you bestow unlimited auspiciousness and are like the celestial wish-tree.
-
- Posts: 35
- Joined: 20 May 2005, 05:20
It is dhEnuShvAsapura. This is one of his many shlOkas on various dieties. Did you notice that OVK has mentioned many gamakams like andOlam, DAlu, sphuritam, kampitam in the 7th stanza?kmrasika wrote:I just want to confirm whether the sanskrit name of UtukkADu is dhEnusvAsapura or is dhEnuShvAsapura? The composer mentions it in his poem, kALinga nartana prabhAvam.
-
- Posts: 191
- Joined: 04 Jan 2006, 12:14
OVK's Navaavarna Krithis
I happened to listen to these krithis at Sri Kamakshi Temple at kanchipuram and liked them immensely. I was told these are called kAmAkshi navAvarnams. Visit this link for lyrics:
http://sridhar107.tripod.com/
Would like to know if any recordings are available...
I happened to listen to these krithis at Sri Kamakshi Temple at kanchipuram and liked them immensely. I was told these are called kAmAkshi navAvarnams. Visit this link for lyrics:
http://sridhar107.tripod.com/
Would like to know if any recordings are available...
Last edited by humdinger on 03 Oct 2006, 16:57, edited 1 time in total.
-
- Posts: 35
- Joined: 20 May 2005, 05:20
Humdinger,
For OVK's Kamakshi navavaranam, there is an excellent book by S. Sankaranarayanan, published through Sangeet Natak Academy and TTD. The book contains explanation of each avarana, text in Sanskrit and English and meanings in English.
The book has a commendation by Semmangudi Srinivasa Iyer and his first sentence is striking - 'sangIta mummanigalODu samamAna iDam peTruLLa vAggeyakArar...'
T.S.Parthasarathy, in his Foreword, says 'The discovery of teh musical compositions of OVK, Annamacharya and Swati Tirunal during the 20th century made a major impact on South Indian music as thousands of musical forms of an amazing variety and range saw the light of the day for the first time. In fact, Carnatic music started flowing along new channels and there was a welcome expansion of its scope. Among these giants, OVK stands in a class by himself'.
Kmrasika:
Sorry, I don't have audios of Sarasijabhava jaye with me. But IFCM has released a few audio CDs with some of his songs including Songs of the 9 nights that contain navavaranams in Nadanamakriya, Balahamsa and Madhyamavati. Rajalakshmi Audio has recently launched a CD exclusively with his Saptaratans. To order these you can email carnaticworld@yahoo.com
Bhargavi
For OVK's Kamakshi navavaranam, there is an excellent book by S. Sankaranarayanan, published through Sangeet Natak Academy and TTD. The book contains explanation of each avarana, text in Sanskrit and English and meanings in English.
The book has a commendation by Semmangudi Srinivasa Iyer and his first sentence is striking - 'sangIta mummanigalODu samamAna iDam peTruLLa vAggeyakArar...'
T.S.Parthasarathy, in his Foreword, says 'The discovery of teh musical compositions of OVK, Annamacharya and Swati Tirunal during the 20th century made a major impact on South Indian music as thousands of musical forms of an amazing variety and range saw the light of the day for the first time. In fact, Carnatic music started flowing along new channels and there was a welcome expansion of its scope. Among these giants, OVK stands in a class by himself'.
Kmrasika:
Sorry, I don't have audios of Sarasijabhava jaye with me. But IFCM has released a few audio CDs with some of his songs including Songs of the 9 nights that contain navavaranams in Nadanamakriya, Balahamsa and Madhyamavati. Rajalakshmi Audio has recently launched a CD exclusively with his Saptaratans. To order these you can email carnaticworld@yahoo.com
Bhargavi
-
- Posts: 35
- Joined: 20 May 2005, 05:20
Here is another excellent composition. It is fairly well known but the word flow is remarkable. The pallavi and anupallavi are in tisra gati. The charanam is mostly in chaturashram but goes to tisram in the last line.
- Bhargavi
svAgatam krSNA. rAgA: mOhana. Adi tALA.
P: svAgatam krSNA sharaNagatam krSNA
mathurApuri sadanA mrdu kathanA madhusUdanA iha
A: bhOgadApta sulabhA supuSpa gandha kaLabA kas-
tUri tilaka mahipA mamakAnta nandagOpa kanda
C: muSTikAshUra cANUra malla malla vishArada kuvalayApITha
mardana kALinga nartana gOkula rakSaNa sakala sulakSaNa dEva
shiSta jana pAla sankalpa kalpa kalpa shatakOTi asama parAbhava
dhIra munijana vihAra madana sukumAra daitya samhAradEva
madhura madhura rati sAhasa sAhasa vrajayuvatI jana mAnasa pUjita
Jati: sa dha pA ga ri pa ga ri sa dha sA dhit takajhaNu tAm takajhaNu tAm tattit takajhaNu tAm (tisragati)
takatari kuku taNa kiTataka dhIm takatari kuku taNa kiTataka dhIm takatari timu taNa kiTataka
Meaning:
P: Oh Lord Krishna ! I do invite You unto this mundane world, once again, surrendering myself unto You totally. You are soft and tender faced, sweet-speaking, resident of Mathura, have vanquished demons like ‘Madhu,’.
A.P: You bestow pleasures and comforts (bhoga da), are accessible to your friends, smell of sweet flowers have kasturi musk on your forehead. Oh Son of Nandagopa, my master! I welcome You.
C: You established your supremacy in boxing and wrestling, destroying experts like Mushtika, Chaanoora and also the elephant Kuvalayapeetha. You subdued Kalinga, by dancing on his head. Protector of cowherds, you are endowed with all noble qualities. You offer refuge to your devotees, are bold, revel in the company of saints, creator of kalpas (a 4-era cycle of over 400 million years) and you have been unequaled through Time. Oh, handsome Lord, you gave much pleasure to the damsels in Brindavan, who worship you. I welcome You.
- Bhargavi
svAgatam krSNA. rAgA: mOhana. Adi tALA.
P: svAgatam krSNA sharaNagatam krSNA
mathurApuri sadanA mrdu kathanA madhusUdanA iha
A: bhOgadApta sulabhA supuSpa gandha kaLabA kas-
tUri tilaka mahipA mamakAnta nandagOpa kanda
C: muSTikAshUra cANUra malla malla vishArada kuvalayApITha
mardana kALinga nartana gOkula rakSaNa sakala sulakSaNa dEva
shiSta jana pAla sankalpa kalpa kalpa shatakOTi asama parAbhava
dhIra munijana vihAra madana sukumAra daitya samhAradEva
madhura madhura rati sAhasa sAhasa vrajayuvatI jana mAnasa pUjita
Jati: sa dha pA ga ri pa ga ri sa dha sA dhit takajhaNu tAm takajhaNu tAm tattit takajhaNu tAm (tisragati)
takatari kuku taNa kiTataka dhIm takatari kuku taNa kiTataka dhIm takatari timu taNa kiTataka
Meaning:
P: Oh Lord Krishna ! I do invite You unto this mundane world, once again, surrendering myself unto You totally. You are soft and tender faced, sweet-speaking, resident of Mathura, have vanquished demons like ‘Madhu,’.
A.P: You bestow pleasures and comforts (bhoga da), are accessible to your friends, smell of sweet flowers have kasturi musk on your forehead. Oh Son of Nandagopa, my master! I welcome You.
C: You established your supremacy in boxing and wrestling, destroying experts like Mushtika, Chaanoora and also the elephant Kuvalayapeetha. You subdued Kalinga, by dancing on his head. Protector of cowherds, you are endowed with all noble qualities. You offer refuge to your devotees, are bold, revel in the company of saints, creator of kalpas (a 4-era cycle of over 400 million years) and you have been unequaled through Time. Oh, handsome Lord, you gave much pleasure to the damsels in Brindavan, who worship you. I welcome You.
-
- Posts: 101
- Joined: 26 Mar 2005, 22:32
One another treasure of OVK's is in the Saptaratna-s commercial CD by Ravikiran's Group (Vintage Virtuoso).
Pretty much set in the type of Tyagaraja's pancharatna, some of the kritis are truly wonderful. In one kriti (bhajanAmruta/nAta) he mentions lot of the bhaktas. In another (Alavadennalo/pharas) he mentions all the 63 nayanmars set in a beautiful melody. I would probably classify the Alavadennalo as "100 must things to listen before dying"
In another kriti (not part of saptaratna) padmAvati ramanan (purvikalyANi) he praises jayadEva and his works.
He may have become a reclusive bhakta in later years, but he must have acquired a lot of knowledge by travelling around (just my conjecture).
Pretty much set in the type of Tyagaraja's pancharatna, some of the kritis are truly wonderful. In one kriti (bhajanAmruta/nAta) he mentions lot of the bhaktas. In another (Alavadennalo/pharas) he mentions all the 63 nayanmars set in a beautiful melody. I would probably classify the Alavadennalo as "100 must things to listen before dying"
In another kriti (not part of saptaratna) padmAvati ramanan (purvikalyANi) he praises jayadEva and his works.
He may have become a reclusive bhakta in later years, but he must have acquired a lot of knowledge by travelling around (just my conjecture).
-
- Posts: 381
- Joined: 22 May 2006, 06:40
-
- Posts: 1075
- Joined: 13 Feb 2007, 08:05
-
- Posts: 1075
- Joined: 13 Feb 2007, 08:05
-
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Until fairly recently, OVK's compositons were considered 'fit' only for dances. Part of the problem maybe that the compositions were 'sold' to a naTTuvanAr for his use, and he used them for choreographing. So, it is possible that Smt. MSS did not sing them because they were not part of a concert artist's repertoire. HOWEVER, since Smt. MSS routinely sang when Radha (Sri Sadasivam's daughter) and Anandi (Sri Kalki's daughter) danced, it is possible that she may have rendered them. I have heard that halls used to be full when the duo performed, in part because Smt. MSS was the singer. If anyone has recordings of the dance performances of this duo it may be possible to check if she has rendered OVK's compositions.
-
- Posts: 140
- Joined: 12 Aug 2006, 17:34
Gowri Ramnarayan daughter of Anandhi can possibly clarify or Radha visvanathan can clarifyrshankar wrote:Until fairly recently, OVK's compositons were considered 'fit' only for dances. Part of the problem maybe that the compositions were 'sold' to a naTTuvanAr for his use, and he used them for choreographing. So, it is possible that Smt. MSS did not sing them because they were not part of a concert artist's repertoire. HOWEVER, since Smt. MSS routinely sang when Radha (Sri Sadasivam's daughter) and Anandi (Sri Kalki's daughter) danced, it is possible that she may have rendered them. I have heard that halls used to be full when the duo performed, in part because Smt. MSS was the singer. If anyone has recordings of the dance performances of this duo it may be possible to check if she has rendered OVK's compositions.
-
- Posts: 128
- Joined: 25 Dec 2006, 14:14
here is a kriti of OVK in sahana adi
p:SaraNam yaami Sri santaana raama swaami twaamaham
a.p.:sarasija nayana kodanDapaaNi
dhara vitaraNa guNa janakajaaramaNa
sowbhagya varada nipuNa
ch:bhajamaana satya madhura mrudutara vacana nata sajjana
nijadaasa kumuda nicaya hita caraNa Sruti ramaNa
aja vamSa tilaka saarvabhowma ayodhya nagara sadana
(madhyama kala sahityam)
nija karadhruta kalamba gambhira nitijaa kuca kumkuma sindura
bhuja ankita candana Srungaara sputa bhandhana lambita thuniRa
p:SaraNam yaami Sri santaana raama swaami twaamaham
a.p.:sarasija nayana kodanDapaaNi
dhara vitaraNa guNa janakajaaramaNa
sowbhagya varada nipuNa
ch:bhajamaana satya madhura mrudutara vacana nata sajjana
nijadaasa kumuda nicaya hita caraNa Sruti ramaNa
aja vamSa tilaka saarvabhowma ayodhya nagara sadana
(madhyama kala sahityam)
nija karadhruta kalamba gambhira nitijaa kuca kumkuma sindura
bhuja ankita candana Srungaara sputa bhandhana lambita thuniRa
-
- Posts: 128
- Joined: 25 Dec 2006, 14:14
-
- Posts: 14019
- Joined: 10 Feb 2010, 18:52
OVK's song lyrics are available at this site as well:
http://www.geocities.com/vc_sekaran/
http://www.geocities.com/vc_sekaran/
-
- Posts: 1258
- Joined: 10 Mar 2006, 07:55
mADu mEkkum kaNNE rendered by Aruna Sairam. UtukkADu had the penchant to compose in folk tunes and this is one of them.
http://www.youtube.com/watch?v=lAvNsc1HcWs
http://www.youtube.com/watch?v=lAvNsc1HcWs
Last edited by kmrasika on 21 Apr 2007, 08:32, edited 1 time in total.
-
- Posts: 1258
- Joined: 10 Mar 2006, 07:55
rshankar: Sorry I didn't catch your post earlier. I actually saw the text for the song in a book I wish I had bought at a bookshop in Chennai. If I remember correctly, it attributed some of these kinds of compositions to UtukkADu. Nonethelss, at least now I know the song is apocryphal as being UtukkADu's. Despite this, I'm sure you'd agree watching the video Aruna and her acoompanying musicians had some fun in performing this item.
Last edited by kmrasika on 22 Apr 2007, 08:19, edited 1 time in total.
Nada Anuboothihumdinger wrote:OVK's Navaavarna Krithis
I happened to listen to these krithis at Sri Kamakshi Temple at kanchipuram and liked them immensely. I was told these are called kAmAkshi navAvarnams. Visit this link for lyrics:
http://sridhar107.tripod.com/
Would like to know if any recordings are available...
http://home.sprynet.com/~dsivakumar/music/intromus.htm
Music Categories > Carnatic - Vocal > Composers O... > Oothukadu Venkatasubba Iyer
has the following tracks,
Ayiram ayiram by MLV
Madananga Mohana by KJY
Thaye Yasoda by MMI
Thillana (in Surutti) by Vijay Siva
Thillana (in Sindhubhairavi) by TNS
Vaangum Enakku by Vijay Siva
Vanduketpar by TNS
Music Categories > Carnatic - Vocal > Song Title S...
has the track,
Sadananada (mayi chinmayi) by KVN
(Lyrics, Meaning, Translation @ http://sridhar107.tripod.com/#6N)
_______________________________
Last edited by thanjavur on 22 Apr 2007, 09:58, edited 1 time in total.
You can listen to the one and only Pithukuli Murugadas sing the following OVK compositions,
Adadhu asangadhu - Madhyamavathi - Adi
Alai payudhe - Kanada - Adi
Madhura madhura - Atana - Adi
Paal vadiyum - Nattaikurinji - Adi
at Nada Anuboothi
Music Categories > Devotional - Songs > Composers O... > Oothukadu Venkatasubba Iyer
_____________________________________
Adadhu asangadhu - Madhyamavathi - Adi
Alai payudhe - Kanada - Adi
Madhura madhura - Atana - Adi
Paal vadiyum - Nattaikurinji - Adi
at Nada Anuboothi
Music Categories > Devotional - Songs > Composers O... > Oothukadu Venkatasubba Iyer
_____________________________________
Last edited by thanjavur on 13 May 2007, 00:40, edited 1 time in total.
The Mystic Bard of Oothukkadu by Dr. Sulochana Rajendran
Has anyone heard this kriti being sung ? Is it available in any commercial recording ?Besides Solkattu Swaras which exude Sahitya perception he was an ace spinner of Gati Bheda sequences. "Vitasamavara Jata" (Vasantha), Nada Murali Gana Vilona" (Hameer Kalyani) the Abhogi Saptaratna are some examples. It is learnt that the kriti in Vasanta which courses through the lilting Tisra Khanda, Chatusra Gatis, is sung at the commencement of Gokulashtami festival at the Nartana Krishna Temple in Oothukkadu.
Last edited by thanjavur on 18 May 2007, 08:04, edited 1 time in total.
-
- Posts: 17
- Joined: 25 May 2007, 10:47