A question regarding the pancharatna kriti Saadhinchene

[srikrishna]

Is there a reason why the fourth chitta swaram -- saarasarudu sanaka sanandudu -- is not sung often when this pancharatna kriti is rendered?

[radha bhaskar]

Though Arabhi has the avarohana, sndpmgrs, it is interesting to note that the whole of sadinchene uses only sdp both in mandra and madhya sthayi phrases( of course this in no way diminishes the raga bhava).But, only the charana sarasarudu starts on the swaras sndpmgrr which seems the odd one out phrase in the whole pancharatnam and somehow also against the picture of arabhi as intended by Thyagaraja. Some people also say that this charanam was added later.So,may be that's the reason!

[balusatya]

Sri.Parthasarathy's book mentions this charanam as prevalent in certain sishysparamparas. * I have a notation of SKA Chingleput Ranganathan which has"ssdp marr mgrr srss sdrs r.rr rrpm pdpm". (not sndamgrr) .
*whenever I organise Aradhana(so far 4 times) I request the vidwan leading the pancharatnam to include this charanam who in turn indicates 4 by show of hands when the turn comes to avoid mixup.
* In some of the events I have participated I have also observed in Dudugukala (I think ) some schools follow with charanam immediately after swaram without singing pallavi in between.

[mohan]

Lalgudi Jayaraman (and his disciples) always return to sAdhinchinE after the charanas instead of the usual 'samayAniki'.

[srikrishna]

Dear fellow rasikas,

I thank you very much for the clarification.

[ramjee]

I came to know that the 4th charaNam was composed by Alathur
Sri Venkatesa Iyer and was added by him.

While the pallavi eduppu is apt and meaningful after each charanam,
Lalgudi Sir himself explained this in Doordharshan programme.the change is effected by him.

[R.narayan.rao]

A programme honouring respected Sri Nedunuri Krishnamoorthy, conducted at Chowdaiah memorial hall,
was telecast live today. Pancharatna kritis were rendered and in Sadhinchene, the fourth charanam was
also rendered.

[Ramasubramanian M.K]

Alathur Subbier insisted that it was in the original and I recall in one Aradhana(which I happen to hear when I was a student) he would rush to sing the 4th Charanam trying to preempt the others from "skipping" it!! Personllay I find the swaram enjoyable although I am generally not inclined to question the merits of composers and I lean towards tradition--if a particular school of Disciples followed it and their sishyaparamapara followed it I do--although I admit the discussions about these things I find amusing and titillating!!!

[vgovindan]

Deleted

[SrinathK]

I also have serious doubts whether that charanam actually belongs to the original composition -- from the aesthetic point of view it is out of style. All the other charananams are long essays with intricate patterns and rhythmically lilting endings -- on the other hand this charanam is a simple k-t-t-k pattern and rrpm pdpm as an ending is not a very strong ending for Aarabhi (even rpmg rsrm sounds stronger). Compare this to all the other endings - where the rhythmic breakup is much more interesting.

1) ,,d S !, srm
2) d,d, ! , ss , !, rr, !, srm
3) r,mm ! p, p, ! s,rm (this is similar in overall pattern to ! r,rr ! rrpm ! pdpm but it is rhythmically more lilting)
4) S-Rd, ! Sp,d! m,p-m! gr-rm !! (3 x 5 = 15 pattern ending)
5) SS,S ! dd-pp !,p-mg ! r- srm !! (This ending is very clever - SS,S dd and pp,pmg are 6 patterns, but mgr-srm is another 6 pattern as well. mg acts as a bridge between the 2 overlapping patterns.
6) SRS-S!, S-dd ! p-p,p !! mgrr ! ,rs, !,, p, !, dpm
7) s, s-d! s,dr !, smg ! rp, - p ! mgrm

In fact, in none of the 4 pancharatnams do we have this deviation from Thyagaraja's typical rhythmically intricate chittaswaram style.