I came across something interesting. I found two javaLis where only the second caraNa is different. Otherwise they have exactly the same texts.
meragAdu (jAvaLi). rAgA: aThANA. Adi tALA. Composer: Pattabhiramiah.
P: meragAdu lEci rArA nA sAmi
A: nArimaNI gOri ninnu dAri jUcucunnadirA
C1: kundakAri nibbarincinanta nEDu noppimpuTa andamA
nIku candamA bandamani santanOrva E vELanu tALanurA
2: tALavana lOlunipai nera menta nencakanE
nullamulanu valapu dAca galadani nI veruga vEmi
meragAdu lEci rA rA. rAgA: aThANA. cApu tALA. Composer: Chinniah.
P: meragAdu lEci rA rA ErA nA sAmi
A: nArImaNi kOri ninnu dAri jUcucunnadirA
C1: kundakAri nibbarinci kAndanEDu noppimcuTa
bandamA balavantamA bandamani santanOrva E vELanu tALanurA
2: pApasura shApa sharacApayuta kOpa nApai kOpamA
kOpamA pratApamA pratApa shrI shyAma bhUpa nIku
javali comparison
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
http://dspace.vidyanidhi.org.in:8080/ds ... e/2009/739
the above link has a doctoral thesis entitled 'Development of sadir in the court of serfoji II'
In chapter IV, pages 10-13 of the pdf (176-178) of the thesis, the author has discussed the knotty problem of the several javali-s being mistakenly attributed from one to the other and also the time period anachronism.
It is also a fact that pattabhiramayya wasn't from any 'tirupannandAl'. He was a government servant in the Mysore state, whose ancestors were all kannada. The 'talavana' in his songs can easily be connected to atleast 6 different places all over india - 4 in South India.
I haven't elaborated on this, since a musician i know is working on an article to this effect, and i don't want to scoop him..
the above link has a doctoral thesis entitled 'Development of sadir in the court of serfoji II'
In chapter IV, pages 10-13 of the pdf (176-178) of the thesis, the author has discussed the knotty problem of the several javali-s being mistakenly attributed from one to the other and also the time period anachronism.
It is also a fact that pattabhiramayya wasn't from any 'tirupannandAl'. He was a government servant in the Mysore state, whose ancestors were all kannada. The 'talavana' in his songs can easily be connected to atleast 6 different places all over india - 4 in South India.
I haven't elaborated on this, since a musician i know is working on an article to this effect, and i don't want to scoop him..
-
keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Along the same lines, other problematic 'double' attributions I can think of are -
1. Kanakangi -Thodi ata tala varNam - ponnaiah/Gopalayya
2. maname bhuSanamu - Sankarabharanam padam, given in Salem Doreswami iyengars book of puci Iyengar's songs, but attributed by everyone else to karvetinagaram Govindaswamayya
3. JanarO I mohamu - khamas javali - chinnaiah, but given in the above book as a composition of puci Srinivasa iyengar.
It is likely that these problems arose because the book of a vaggeyakara's compositions were rarely published within their lifetime/under their supervision.
Hence, those who inherit their notebooks print everything they find in those books and attribute composition of those songs to the owner of the notebook!
Isn't it likely that a court musician noted down any composition he/she heard and liked?
1. Kanakangi -Thodi ata tala varNam - ponnaiah/Gopalayya
2. maname bhuSanamu - Sankarabharanam padam, given in Salem Doreswami iyengars book of puci Iyengar's songs, but attributed by everyone else to karvetinagaram Govindaswamayya
3. JanarO I mohamu - khamas javali - chinnaiah, but given in the above book as a composition of puci Srinivasa iyengar.
It is likely that these problems arose because the book of a vaggeyakara's compositions were rarely published within their lifetime/under their supervision.
Hence, those who inherit their notebooks print everything they find in those books and attribute composition of those songs to the owner of the notebook!
Isn't it likely that a court musician noted down any composition he/she heard and liked?