Oothukkadu Venkata Kavi (OVK)

Carnatic composers (other than performing vidwans)
drshrikaanth
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#26

Post by drshrikaanth » 03 Aug 2006, 00:07

I have never come across tATankamukha used to mean Siva. "kamalamukha" , "candra mukha" is fine. But tATankamukha? :?
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drshrikaanth
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#27

Post by drshrikaanth » 03 Aug 2006, 03:10

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||
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rshankar
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#28

Post by rshankar » 03 Aug 2006, 05:03

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
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drshrikaanth
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#29

Post by drshrikaanth » 03 Aug 2006, 05:07

vEdAnta bOdhaka makes so much more sense and is a relief. As for Atankamukha, perhaps the composer wanted to say "those bhakts with fear/uncertainity writ large on their face(bhayabhIta)"
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rshankar
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#30

Post by rshankar » 03 Aug 2006, 05:12

DRS, makes sense....better sense than tATanka mukha aka Siva....
:cheesy:

Although not definitive, finding the composition in a publication with other well known OVK compositions does strengthen the case of this being a genuine OVK creation....

The book lists the tALam as khanDa tripuTa.....

Ravi
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cmlover
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#31

Post by cmlover » 03 Aug 2006, 05:40

DRS

I was equating with thEvAram 'thODuDaya cheviyan..'. But now the meaning fits better.
Ata^Nka also means disease or sickness!
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arasi
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#32

Post by arasi » 03 Aug 2006, 07:43

cml,
maganum thODuDaiyOn allavE
thandaiyum thAnE
viDai ERiyOnum
vinAvukku viDai InduviTTAn,
avan magan thuNaiyODumE

Interesting discussion. Fit for lots of abhinaya, Ravi... ;)
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rshankar
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#33

Post by rshankar » 03 Aug 2006, 07:54

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
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rshankar
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#34

Post by rshankar » 03 Aug 2006, 08:04

Meena,
Next composition to be taken up will be:
kalyANarAmA....

Ravi
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meena
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#35

Post by meena » 03 Aug 2006, 14:15

Shankar thanks
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cmlover
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#36

Post by cmlover » 03 Aug 2006, 22:09

vandE tATa^Nka bhUShaNA! (shankar in case you are wondering):)
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rshankar
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#37

Post by rshankar » 05 Aug 2006, 07:44

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
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rshankar
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#38

Post by rshankar » 05 Aug 2006, 22:11

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
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cmlover
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#39

Post by cmlover » 05 Aug 2006, 22:31

aupavAhya skanda dEsha
aupavAhya is the royal carriage/elephant . In this case it is decorated on its shoulder side (skanda dEsha alankrta
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vasanthakokilam
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#40

Post by vasanthakokilam » 06 Aug 2006, 05:09

I have these questions in my mind about OVK..

1) Is there any evidence or anecdotes to show that one or more of the trinities knew of OVK krithis?

2) Were the tunes passed on down through the shishya parampara or they were set by later musicians?
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cmlover
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#41

Post by cmlover » 06 Aug 2006, 08:12

There was 'no' shiShya parampara!
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meena
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#42

Post by meena » 06 Aug 2006, 08:31

Deleted
Last edited by meena on 06 May 2008, 03:55, edited 1 time in total.
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vasanthakokilam
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#43

Post by vasanthakokilam » 06 Aug 2006, 08:48

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.
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rshankar
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#44

Post by rshankar » 06 Aug 2006, 09:12

VK,
As I understand it, nIDamangalam krishNamUrty bhAgavatar was the one who propagated OVK's songs. NKB claimed that OVK had set all of his compositions to music himself...and that this was in the family for generations, and they used it in their harikathAs...
Ravi
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kmrasika
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#45

Post by kmrasika » 19 Aug 2006, 08:16

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.
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ifcm_rfi
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#46

Post by ifcm_rfi » 27 Sep 2006, 09:46

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.
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ifcm_rfi
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#47

Post by ifcm_rfi » 27 Sep 2006, 09:50

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.
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?
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kmrasika
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#48

Post by kmrasika » 29 Sep 2006, 06:32

ifcm_rfi: Thank you for confirming the name of the village. The krithi on saraswati is definitely rare. Could you post an audio clip (non-copyrighted) of the song, if available?
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humdinger
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#49

Post by humdinger » 03 Oct 2006, 16:55

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...
Last edited by humdinger on 03 Oct 2006, 16:57, edited 1 time in total.
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ifcm_rfi
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#50

Post by ifcm_rfi » 16 Jan 2007, 08:28

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 [email protected]

Bhargavi
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