Sanjay for JAYA TV Margazhi Maha Utsavam

sridrect · Post by **sridrect** » 11 Dec 2011, 22:18

Date: 11-Dec-2011
Venue: Chettinad Vidyashram
Time: 6:30pm

Vocal: Sri Sanjay Subrahmanyan
Violin: Sri S Varadarajan
Mridangam: Sri Neyveli Venkatesh

Theme: Harikesanallur Muthaiah Bhagavathar

JUST ONE WORD !!!! VISWAROOPAM of SANJAY !!!! ONE OF THE TOP NOTCH PERFORMANCE OF THE SEASON ! THOSE WHO MISSED BEING THERE PLEASE TUNE INTO JAYATV FOR THE TELECAST of the condensed one hour version ! If you still miss it, watch the 1/2 hour version on the following day ! If you still miss it wait for uploads into YouTube.

More details later.

THE MASTERs VISWAROOPAM !!!

arasi · Post by **arasi** » 11 Dec 2011, 23:38

For how long did you stand in the line?

HMB too! Were the songs in different languages? I guess so.

sureshvv · Post by **sureshvv** » 11 Dec 2011, 23:43

arasi wrote:For how long did you stand in the line?

Got there 10 minutes ahead of the Nisha Rajagopal opener and was in almost right away

HMB too! Were the songs in different languages? I guess so.

Nope! All in tamil. But still top notch kritis. Will give the OP a bit longer to decipher his
notes so I don't steal his thunder!

sridrect · Post by **sridrect** » 12 Dec 2011, 08:27

sureshvv - Enlighten OP ?

annamalai · Post by **annamalai** » 12 Dec 2011, 08:29

Yes, there should be a lot of thunder to describe Viswaroopa Darshan

Darisanam kandarkku Maru Janmam Illaye - Thillai Darisanam ...

sureshvv · Post by **sureshvv** » 12 Dec 2011, 08:31

OP = Original Poster

srinidhi · Post by **srinidhi** » 12 Dec 2011, 10:12

Sanjay's voice was awesome and he was in great form. Started off with a brisk kriti on Vinayaka in poornachandrika followed by another one in begada. The next was what to me was the best- a slow and majestic alapana in Hameer Kalyani. He had all th eusual prayogams- with some unexoected ones thrown in for effect. And the audience appreciated with a sudden spontaneous applause right in the middle- I think it was after- Sa ri ga ma ri (in tara sthayi) and a sudden descent to ma ga pa ma ri. An inspired Varadarajan took Hamir Kalyani to even greater heights. A very very enjoyable team work . I don't remember the kriti. This was followed by a ragamalika composition (Shankarabharanam. Mohanam, Vasanta, Sahana, Todi Saranga and Sri Ragam) . All the kritiswerein Tamil.

sridrect · Post by **sridrect** » 12 Dec 2011, 12:40

The song list:

1. Thudhikaikku Uriya Aadhiye - Poornachandrika
2. Yaarukkum Adangadha Neeli - Begada
3. Avan Seyalandree - Hamir Kalyani
4. Unnai Ninaindhu - Sankarabaranam, Mohanam, Vasantha, Sahana, Todi, Nayaki, Kanada, Saranga and Sri
5. Moovaasai Konda - Karaharapriya - RNST
6. Santhamaga Kaatchi Tharum - Yadukulakamboji
7. Maavoor Valam Peruga - Sindhubhairavi
8. Thungamaal Vidai - Surati

Following a great Hamir Kalyani, the Sankarabaranam started off in a serene manner. And as it grew slowly came the sudden shift to Mohanam, Vasantha .... in such a manner it was breathtaking. It was a pattern-ised mixture of S-baranam followed by a new raga and he traversed the entire scenario in reverse order. The entire auditorium was under a spell lasting over 35 minutes. As if this was not enuf then came Karaharapriya. What else could one ask for? The overflowing auditorium was just transported to a completely different zone. That one hour + spell was just MAGICAL ! I have attended the MASTERs concert at Margazhi Maha Utsavam for 9 years in a row now. I woudl still rate the TILLAI - 2004 as the best at this venue...but this comes a very close 2nd. That concert in 2004 had an emotional appeal too overwhelming, whereas this one was just classicism brimming all over.

This Sankarabaramam (and ragamalika) and Karaharapriya is going to live with me for a lifetime !!!

sridrect · Post by **sridrect** » 12 Dec 2011, 16:05

The entry from MASTERs blog about some interesting information regarding yesterday's concert.

http://sanjaysub.blogspot.com/2011/12/j ... thiah.html

malavi · Post by **malavi** » 12 Dec 2011, 16:43

Yes it was a superb concert of sanjay yesterday.the ragamalika and karaharapriya still keep on coming to my mind.
in the ragamalika it was kannada and not kanada.as subhasree mentioned it was a sanjaya varadaraja venkatesa concert,each one doing their best.all the kritis were new to us in praise of different gods,vinayaka,kali,vishnu,murugan and narasimhar.sanjay has really done a great job finding these kritis and making us enjoy the same.dont miss it in jaya TV.telecast.

arasi · Post by **arasi** » 12 Dec 2011, 23:24

sureshvv,
I have an objection against your word 'still'--in "all in tamizh. But still topnotch kritis"

musicloverrr · Post by **musicloverrr** » 13 Dec 2011, 01:27

I found him too loud at some places. Wish he modulates his voice effectively like the way he sung the Sindhu Bhairavi piece. It was a beautiful rendition.

His answers in the Q&A session were very interesting. I particularly enjoyed his response when he was asked to list 3 prerequisites to learn music. He said "Sangeetham kathukanumnra aasai irundhaal podhum"(Intrest to learn music that is enough). It reflected his simplicity. Most of the musicians are extremely money minded and commercial. They exploit the students who come with a true interest in music. They literally treat their students like slaves. Practically speaking this what a lot of musicians expect: 1) You gotta be very rich. 2) Parents should have background in music. 3) You have to be thick skinned. Talent is secondary.

Subasree mentioned that even to get admission in school parents are expected to be educated these days. But he said it is not necessary at all. He continued that his father was an engineer, so if that was the case he wouldn't be here today.

ganeshkant · Post by **ganeshkant** » 13 Dec 2011, 11:44

sridrect wrote:5. Moovaasai Konda - Karaharapriya - RNST

That should be 'konDra" and not konda.You have made the lord the owner of the desires whereas HMB wanted him to be the eliminator of them. :tmi:

TNS has sung this and bEgada kriti many times and I have heard my mother sung these many times as well.The other kritis are all new to me.

sridrect · Post by **sridrect** » 13 Dec 2011, 12:36

ganeshkant wrote: That should be 'konDra" and not konda.You have made the lord the owner of the desires whereas HMB wanted him to be the eliminator of them. :tmi:

TNS has sung this and bEgada kriti many times and I have heard my mother sung these many times as well.The other kritis are all new to me.

IT IS MOOVASAI KONDA and NOT as you have said ! Why do you think the LORD is not owner of desires ... please check the entire song lyrics to understand what are those THREE DESIRES

kunthalavarali · Post by **kunthalavarali** » 13 Dec 2011, 13:23

Yes, it should be MOvAsai konda thirumAl

ganeshkant · Post by **ganeshkant** » 14 Dec 2011, 11:08

Sridrect,

Boss....sorry for my overstep.I will check the lyrics.

sridrect · Post by **sridrect** » 14 Dec 2011, 11:23

ganeshkant wrote:Sridrect,

Boss....sorry for my overstep.I will check the lyrics.

Sir ... Please cool it .... What is the there to say sorry ! After you raised the question I cross checked my notes and then went thro' the entire lyrics to understand what HMB had in his mind.

cmlover · Post by **cmlover** » 15 Dec 2011, 18:51

Would love to see if Lakshman/others post the lyrics!

sridrect · Post by **sridrect** » 29 Dec 2011, 15:46

For those who missed the telecast of this masterpiece concert on JAYATV yesterday (and a repeat telecast this morning) here is the link to the ragamalika krithi.

http://www.youtube.com/watch?v=gZG7uk6qlfo

shyamala3091 · Post by **shyamala3091** » 29 Dec 2011, 16:03

Nice concert of sanjay very well presented, the krithis yarukum adangadha in Begada and moovasai konda kaaharapriya are the master pieces of Sri T N S sir, AVM he has also released a special albulm in Muthiah Bhagavathars krithis sung by sri TNS.

CommonMan · Post by **CommonMan** » 29 Dec 2011, 17:20

Simply Outstanding.............

vasanthakokilam · Post by **vasanthakokilam** » 30 Dec 2011, 02:13

sridrect wrote:For those who missed the telecast of this masterpiece concert on JAYATV yesterday (and a repeat telecast this morning) here is the link to the ragamalika krithi.
http://www.youtube.com/watch?v=gZG7uk6qlfo

Excellent. Neat swaras on so many ragas. Had a fun time playing along with him to his Sahana swaras.

Ranganayaki · Post by **Ranganayaki** » 30 Dec 2011, 05:46

sridrect wrote:

After you raised the question I cross checked my notes and then went thro' the entire lyrics to understand what HMB had in his mind.

I was extremely sleepy and tired as I listened to this concert, yet it was a superb experience. I wanted to turn it off for some late-night silence, but the Shankarabharanam piece kept mounting in interest. I really did not enjoy the puns in the sahitya over some of the raga names but otherwise enjoyed the superb, complex piece. I plan to listen again today.

About "Moovasai konda Thiruman" - I've been thinking about the words too. Sridrect, if you searched for the composer's meaning in the rest of the poem, I suppose you did not find it. The song just touches several images of Sri Krishna. Please consider my interpretation:

Since it is "konda" and not "kondra", the moovasai are referred to positively. The concept of Moovasai reminds me of the opening line of the Sri Ranga Gadyam of Sri Ramanuja "Svadheena Trividha Chetana.." That line refers to the three types of desirous beings (and therefore "desires") which depend on Bhagavan. These would be:

1. those who are in linkage to worldly desires and pleasures and are motivated to progress by these and remain desirous of this linkage,

2. Those who are free of worldly pleasures and are motivated to remain free and

3. those who derive joy and bliss from existing in a state of Dharma, which is the order of the Universe, all things as they should be, therefore in harmony with the "wishes" or, as I prefer to think of it, the beauty of the Lord, and naturally in service of the Lord.

These three states (or desires as the foundation of these three states) all have their place in life and all take the bhakta towards enjoyment of the Lord. These states/these desires to be in these states all are a gift to our consciousness for our lives and do all serve the purpose of leading us to Him. They all emanate from Him and are a part of him. This is my interpretation of Moovasai (konda Thiruman). The words are probably in keeping with the Sri Vaishnava tradition and literature. Please feel free to discuss, disagree, teach.

Ranganayaki · Post by **Ranganayaki** » 30 Dec 2011, 05:49

So to paraphrase, the moovasai would be :
1. Aasai for the bonds
2. Aasai for freedom from the bonds
3. Aasai only to remain in harmony with the Universe, delighting in the harmony and serving it.

sureshvv · Post by **sureshvv** » 30 Dec 2011, 09:30

sridrect wrote:For those who missed the telecast of this masterpiece concert on JAYATV yesterday (and a repeat telecast this morning) here is the link to the ragamalika krithi.
http://www.youtube.com/watch?v=gZG7uk6qlfo

vasanthakokilam wrote: Excellent. Neat swaras on so many ragas.

Mind boggling when you realize that it was executed without the aid of any notes.

arasi · Post by **arasi** » 30 Dec 2011, 10:55

Well, when it is almost accepted that notes are needed if they sing new compositions, Sanjay is a welcome change.

Recently, a friend who lives with music said to me that after performers learn a new composition, they need to practice it a hundred times before they present it on stage!

ganeshkant · Post by **ganeshkant** » 30 Dec 2011, 11:43

Saw the telecast in Jaya T.V.It was very good esp.the HKalyani and bEgada.Sanjay told"HMB is a utthama vAggeyakAra".Sanjay also soon join the band of 'utthama gAyakA'.

arasi · Post by **arasi** » 31 Dec 2011, 16:09

Ranganayaki,
Interesting interpretation.

I thought it was HMB's tongue-in-the-cheek transference of human qualities to tirumAl: maNNAsai, peNNASai and ponnASai are to be shunned by us. What if the Lord himself is invested with these desires? I could think of the mAbali instance--his taking a mega-measure of maN (earth), and peNNASai for his love for Lakshmi, but ponnASai? I don't have an explanation for that. Ravi might know. Or, am I wrong in figuring something like this out of 'mUvASai koNDa tirumAl?

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 19:30

Arasi,
I wanted to write back last night, but I was too sleepy to. Someone else did email me and offer almost exactly the same interpretation as yours, so I wanted to acknowledge it as a possibility to discuss.

My interpretation appeals to me because it fits in my head nicely.. This one gives me doubts. Prodding Krishna for Pennasai for Lakshmi.. seems a little farfetched.. it's like questioning marriage itself, questioning a man's love/desire for his own wife as a vice.. I do not understand the ponnaasai either. Mannaasai works.. what was suggested yesterday was Pugazhasai and I could not fit that into the Maabali story.

But though it fits in my head nicely, there is one expression in the poem that nudges it out of that neat fitting: kudi kedutthai.. So it is not very complimentary to the Lord (am I reading those words right?).. So I must revise and accept that Mannaasai, Pennaasai and Ponnaasai are possibilities, but it would be great if someone could offer a neat interpretation that ties everything together.

mahesh3 · Post by **mahesh3** » 31 Dec 2011, 19:39

Begada was real nice!

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 19:53

I mean.. prodding Krishna/Mahavishnu about Lakshmi seems to imply that we were taught to shun our wives as a vice: pennaasai.

Plus my other doubt: Why prod the lord over any of this? Did he ask us specifically to shun mannaasai, pennaasai and ponnaasai? Where? After all, for example, Krishna himself understood Sudaama's needs and did not teach him to SHUN them (though the thrust of that story is not exactly that). Is the poet suggesting that the lord is a hypocrite? I mean do Krishna the character's words in any work (the Geetha, the Mahabharata, or any other work) offer advice on shunning these three? Even if the removal of Sudama's wants is in his head, the interpretation then would only be that the Lord compassionately aided him in feeling blissful, not that he prescribed "desirelessness" to Sudaama, or that he chastised him for feeling the need for wealth/land.

arasi · Post by **arasi** » 31 Dec 2011, 20:23

Ranganayaki,
While I am waiting for someone to throw more light on this, let me latch on to your reference to 'kuDi keDuttAn'. That makes me think that HMB is in a playful (teasing?) mood. There's nothing new about this, though. KrishnA being scolded for his stealing butter and milk is something we are very familiar with! Perhaps HMB wanted to blame him (lovingly, adoringly) for something not so familiar.

Ravi (rshankar), the purAnam buff or others can help. As for perumAn's ASai for Lakshmi, I would say, that's why he has given her a place in his heart, has seated her on his lap, and so on. peNN here is, peNmaikkE ilakkaNamAna (the acme of womanhood) Lakshmi. Greed for bhUmi with Vishnu really is not greed, Giving Lakshmi his heart to stay with him is not lusting over her, but honoring her! I still have no clue about the greed for gold!
In general, mUvASai refers to humans hankering after land, women and gold.

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 20:41

Arasi,
I'm no religion/mythology buff, but the only connection I see to this because of the wording of the line

Panam kudutha sedan ther eri paduthai

(is Panam pronounced as PaNam, meaning money?)

Panam kudutha person would be Kubera.. that would work.. because Kubera financed Venkateshwara's wedding.. and the lord of Tirupati is known to be indebted to him, which is why we devotees are said to be working towards paying off that debt through our contributions to Tirupati hundial. Well, that is a huge ponnasai, I would say.

But what does the word "sedan" mean - is that a name for Kuberan? or a word for demigod?

He did use Kuberan's ther, which is the Pushpaka Vimanam. But did he actually lie down in it? ther eri paduthay? What do those mean?

I am becoming more and more convinced that these three are the correct moovasai.. He begins the poem with a reference to the moovasai, and the charanam expands on exactly three known forms of aasai. This song is structured better than I thought. I initially thought that it was just a collage of ideas, references and snapshots of Venkateshwara's existence as many many songs of praise are, so it did not even matter that there is no expansion of the idea of moovasai in the rest of the song.

Will someone bring it all together?

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 21:18

arasi wrote:Ranganayaki,
While I am waiting for someone to throw more light on this, let me latch on to your reference to 'kuDi keDuttAn'. That makes me think that HMB is in a playful (teasing?) mood. There's nothing new about this, though. KrishnA being scolded for his stealing butter and milk is something we are very familiar with! Perhaps HMB wanted to blame him (lovingly, adoringly) for something not so familiar.

Yeah, may be, but still it bothers me.. lovingly adoringly.. but still the words "kudi keduttan" seem rather harsh, not loving/adoring.

But on the other hand, it is true that when I think of the Maabali/vaamana story, I do tend to feel it is overkill on the part of the lord .. just to please some insecure devas (do I remember the story right?) - Mahabali is described as a righteous king. So may be that fits in too.. I'm answering my own question out loud, bear with me

So 2 out of 3 are possibly explained (barring a couple of words in those lines) as gentle accusation. And it's not about hypocrisy or teachings, just an accusation - Ipdi pannitiye paa nu. But what's the prodding in Lakshmi's case? Something wrong with honoring her? What's the accusation there?

Just doubts here and there, but the general interpretation you offered seems to fit better than mine.

arasi · Post by **arasi** » 31 Dec 2011, 22:11

paNam here is a snake's hood (SEDan=SEshan).

the charaNam of the song kind of explains it all, I think.

dEvEndran iDar tIrkkum sahAyan is where the pon (gold)reference is, I think.

Churning the pARkaDal, he gained Lakshmi (peNNASai). He then went on yOga nidrai under the hood of Adi SEsha.
By taking a measuring step on earth (pAr ellAm), he ruined mAbali.
He also came to reside gracefully in harikESa nallUr.

Now, the gold bit: dEvEndran figures in the story, obviously.

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 23:16

Arasi, what is Idar?

I think that word was key to me to correctly understand that line.. I thought it referred to something else, Govardhana Giridhari.. But I see now.. But where is the reference to gold? What is the connection between gold and Devendra? It is not that obvious to me!

The way you explain it, may be this song is pure praise, and not accusation - not even gentle accusation. I prefer it that way, and it makes more sense to me. I have edited my previous post, those who've seen it please bear with my sensitivity in the light of new understanding, though there may not truly be a need for the edit.

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 23:20

If Devendran does contain the reference to gold here, then I'd say that I like this structure less because I would have preferred all the three aasais to be enumerated in the charanam. That would be aesthetically more pleasing to me. Anyway, this is good.. at least he does seem to expound on "moovasai".

To recap my questions: please explain to me "idar", "ther" and the clear connection you see between Devendra and gold.

Ranganayaki · Post by **Ranganayaki** » 31 Dec 2011, 23:29

Tamil is confusing! Panam for padam, sedan for seshan! To think that I did consider that seshan was the reference here and thought I was wrong! So easy to have gotten on the right track, but so easy to be thrown off it!!

sridhar_ranga · Post by **sridhar_ranga** » 31 Dec 2011, 23:55

phaNa the sanskrit word for a serpent's hood can be written as paNam in Tamil, but I still think there is some money/gold connection with Adi-SEshan being implied here. Could kubEra (or some other money lender to VishNu) be an amSam of Adi-Sesha? We have clear instances of 'mannasai' (the mahabali reference) and 'pennasai' (Lakshmi reference) in the charanam itself. The AdiSesha story, sandwiched between the other two, must stand for 'ponnasai'.

As for peNNASai, many treasures emerged when the milky ocean was churned, and Vishnu was the chief arbitrator deciding who gets to keep what: he gave the moon and the hAlahAla posion to shiva, the airavata to Indra, and so on, but when Lakshmi emerged, he desired to keep her for himself. The other things he kept for himself are the shankha/conch and kaustubha, the precious jewel.

arasi · Post by **arasi** » 01 Jan 2012, 08:38

Ranganayaki,
iDar is danger, obstacle, problem.

Sridhar,
You are better than I am in tamizh. However, I think the pon-bit refers to indran and rescuing him from some financial matter--something to do with kubErA?
I think AdiSEshan has no special significance here, except that the Lakshmi reference led HMB to anantha Sayanam image--pure guessing on my part, of course.

d(h)anam is the word a composer tends to use than paNam in a song. As Sreedhar agrees, it is the hood of Adi SEsha.

rshankar · Post by **rshankar** » 01 Jan 2012, 08:40

iDar is tuyar
As far as I know, the only 'incarnations' of AdisESan are lakshmaNa, and the sage patanjali (in bharatanATyam, the mudra for patanali is a snake) - not heard about kubEra being one.
I wonder if mUvASai could be indicative of Lord vishNu's three consorts - maN (for bhUmi dEvi), peN (for nilA dEvi), and pon (for SrI dEvi)....
And Sridhar - vishNu did not keep lakshmi for himself - she chose him for herself (a subtle, but definite difference, right?)

arasi · Post by **arasi** » 01 Jan 2012, 08:47

There you are, Ravi!
Looks as though the reference is to his mupperum dEvis!

Ranganayaki · Post by **Ranganayaki** » 01 Jan 2012, 20:15

rshankar wrote:iDar is tuyar
As far as I know, the only 'incarnations' of AdisESan are lakshmaNa, and the sage patanjali (in bharatanATyam, the mudra for patanali is a snake) - not heard about kubEra being one.
I wonder if mUvASai could be indicative of Lord vishNu's three consorts - maN (for bhUmi dEvi), peN (for nilA dEvi), and pon (for SrI dEvi)....
And Sridhar - vishNu did not keep lakshmi for himself - she chose him for herself (a subtle, but definite difference, right?)

Arasi and Ravi, thank you for "Idar".. what is "ther"? Is it just "chariot"? How does that fit in with Adisesha? He can't be referred to as a chariot just because Vishnu gets on - can he?

I did think of Sri and Bhu Devi.. But I thought of Sri Devi as Ponn.. not as Penn in that case - and dismissed it, because there is no Penn.. Forgot quite completely about Neela Devi.. probably all penn in her earthly avatar.
So this suggestion made me go Aha!! Still aesthetically, I feel the charanam should have a reference to Ponn, unless we can just say that MB was a little careless in this case and move on? It makes me uncomfortable, though.

In any case, given the prevalence of the collage type songs, I don't think this type of thematic consistency is a big deal in the songs of Carnatic music.. The requirements are probably more technical: rhyme(internal/or that first letter and the second letter thing), meter, etc., and as long as the song was in praise of a God, nothing need(ed) be said. Please correct me if I'm wrong, because this is just from listening experience, not any academic study/knowledge (as you all know by now

)

As for Vishnu being the "decider", so to speak, that was new to me.. Regarding the "subtle" (significant actually) difference you point out wrt Lakshmi, I thought Shiva too chose to rush to the rescue and chose to consume the poison. In many stories, Vishnu advises devas or other seekers that Shiva is the go-to God and I thought the devas and asuras had appealed to Shiva for help. This all reminds me of the beautiful Nanjangud temple near Mysore

.

I looked hard, but to my disapointment, I did not find any connection between Adisesha and Kubera, or A.S and gold. Ravi, I found out on wikipedia that Balarama is also viewed as an incarnation of AS.

arasi · Post by **arasi** » 01 Jan 2012, 21:12

Ranganayaki,
sEDan melERi or mIdERi (midu +ERi) got up on. ThER does not come there.

On the one hand we have the three dEvis explanation.

Ravi,
Did Indra owe pon to KubEran or, as he is prone to, wanted more wealth than kubErA--and VishNu granted a boon?!

peN then is Lakshmi that he found in pARkaDal and AdiSeshA is just an extra in the scene (prop, even)?

mAbali is no puzzle--for the maN bit.

Ranganayaki · Post by **Ranganayaki** » 01 Jan 2012, 21:24

Aah.. thank you, Arasi.. glad to have the correct word, but bugged that I was struggling with the wrong one

.