Purandara Namana by Smt Manorama Prasad

[jagshari]

Smt. Manorama Prasad, a reputed musician, musicologist and a well known music teacher in UK, presented "Purandara Namana", a tribute to Carnatic music Sangeetha Pitamaha at Sree Vinayaka temple, Wimbledon on the 26th of November. Purandara Namana, brought to spotlight the bhakti and philosophical aspect in Dasaranama krithis, essence of vedantic tatvas being articulated in simple language to reach the masses. This presentation from Smt. Manorama Prasad is first on the series to bring to light unique contribution of great vagaeyakara of Carnatic music. Shri Purandara dasa’s contribution to carnatic music is immense by bringing folklore and standardising the teaching technique. As the event’s name goes, the evening was a synthesis of music concert, lecture demonstration in Harikatha style to delve upon the ever applicable teaching of Saint Purandaradasa for human well-being.

The evening commenced with divine invocation of vandanams to Guru Pitamaha Purandaradasa and Ganesha for nirvighna completion. The inaugural song Sri Gananadtha, a pillari geetham was sung by Smt. Manorama and all her students in samuhi style. Smt. Manorama set the scene for the evening with a brief glimpse of Purandara Dasa’s life events, born as Srinivasa Nayaka a Madhava Brahmin household of Varadappa Nayaka from Uttara Karnataka district of Shimoga in 1484 AD. Srinivasa got initiated into philosophical path through divine intervention by Purandarapura Lord Vitala to show him the path of righteousness, which prompted Srinivasa to relinquish all his wealth and surrender to his ishta deivata Lord Vittla.

Shaping and presenting of visualised methods is usually done Padathi-Kesam (bottom to top) or Kesaathi-Padam (Top to bottom). Smt. Manorama Prasad chose to paint the canvas for the evening with lyrical beauty of Purandaradasa’s krithis in the former technique. Smt. Manorama Prasad presented “Yettapoda namma Viparanna Yelli Hudakalamma” in ragam Charukesi, bringing out Purandaradasa’s anguish of his unluckiness, for not having being blessed to have a glimpse of the Lord, which his wife was blessed with, how and where I will search him. Smt. Manorama’s rendition moved the listeners and they feeling themselves the Purandaradasa’s agony. She followed with next kriti in Purvi Kalyani set to Adhi talam “Adaddella Olite Aayitu”, bringing out the concept of complete surrender to lord, whatever happens is for good, for He know when, where and what to give, oh dweller of earth. Through this Purandaradasa conveys, it is futile to worry and the Omnipresent Lord Krishna bestows as appropriate. Here Puradara resonates the tatva of Bhagavat Gita, of believe in me and accept the fruits of your acts is karma phalitam with humility. In the Karaharapriya composition “Guru vina Gulama”, here Smt. Prasad brought out Purandara in this Ugaboga geeta extols the need of guru for salvation and attainment of moksha. Here we understand, a guide is needed for during studies one can get stuck in grammar while losing sight of the goal, a similarity of thought and social consciousness in great thinkers as brought out by Shankaracharya in his Bhaja Govindam song. From there on Smt. Manorama presented the song Hanuman mathave Hariya Mathavo in Sumanesha Ranjani set to Adi thala.

Having presented Purandaradasa as a person deeply religious with social leaning, Smt. Manorama went on to build the edifice on the strong foundation she had laid in the earlier part with “Ninna ashrayisuveno Nigama Gochara Nitya” in Ananda Bhairavi and “Govinda Ninna Namave Chanda” symbolising the happiness of namasmarana, the essence of Vedas, you are omnipresent, present in every atom, you are the purest, you are the creator and saviour of the mortals.
The concert format gave Smt. Manorama very less scope for raga alapana, she presented short alapana in ragam Atana for the kriti Sakala Grahabala neene sarasijaksha and in Sudha Dhanyasi song “Narayana Ninna Namada smaranaye saraamrutavu”. Smt Manorama’s rendition laced with bhakti transformed the audience, with everyone’s inner heart humming the names of Krishna, Govinda and Narayana.

Painting Purandaradasa life events with krits “Teliso illamulugiso”, Yelu Narayana, Venkatachala Nilayam, Smt Manorama brought the Purandaradasa speciality of bringing everyday events of life, thus endearing them to large group of ordinary people and becoming as a jana ranjana creator. Smt. Manorama exhibited her music genius by rendering “Bhagyada Lakshmi Baramma” in Sri Ragam in the MLV bhani as against the general way of elobration in Madhyamavati.

Muyyake-Muyya kriti Purandara brings out the rasa leela act of Lord Vittala, wherein He doesn’t wait to settle score. The next piece was the jewel of the evening “Jagodharana Adisidale yasodha” in Hindustani Kapi, wherein Purandaradasa brings out the Lord of universe is so approachable and he demonstrated this by himself being son of Yasoda. A epitome of mother-child relation expressing the vatsalyam, strictness, fondness and playfulness is portrayed effectively.

In the song “Rama naama Payasakke, Krishna naama sakkare”, Smt. Manorama’s sweet rendition ran like nectar in everyone ears, while the listener longed for the mouth watering sweet ghee payasam (sweet porridge) drawn as simili comparison to ever tasting namasmarana.

Further Smt Manorama presented “kandena Kanisinali Govindana” in ragam Simmendramadhyama. Tamburi Meetidava bhavabdi Daatidava” in Sindhu Bhairavi, wherein Smt. Manorama explored the saints kriti of how music, when rendered with full bhakti leads to Vaikunta (salvation). The next kriti brought out human helplessness when he is out of touch with Krishna “Banda della Barali” in ragam kapi, and human needn’t worry when he is under the govardhana umbrella of Krishna.

Smt. Manorama rightly concluded the evening with Vyasaraya’s composition in praise of his disciple. Purandara earned well-deserved praise from his guru in the song “Dasarendare Purandara daasaraiyah” in ragam Kamboji set to misra chaputalam meaning “Among the devotees of Hari, Purandara Dasa is the greatest, whose songs mesmerised the almighty Krishna”.

Smt. Manorama Prasad was ably supported by UK accompanist Shri Durai Balasubramaniam on the Violin and Shri Somasundara Desigar on mridhangam. The percussionists aptly added value with melodious and scintillating brihas and gamakams to bring depth to the concert.

Vote of thanks was done by Shri Jagadeeshwaran Pillai, Head of Kingston Tamil School and Smt. Chitra Sundaram, noted Bharatyanatyam performer gave a brief review of the performance. Smt. Geeta Maheshwaran proposed the vote of thanks and Priests of Sree Vinayaka Temple performed the Mangala haarti which concluded the evening of Guruvandana to Sri Purandaradasa.

[rshankar]

With such a lovely report, I assume the evening was truly magical. Any chances of recordings? Some of the songs are not very frequently heard.

[rajeshnat]

Muyyake-Muyya kriti Purandara brings out the rasa leela act of Lord Vittala, wherein He doesn’t wait to settle score.

Nice to hear PD exclusive concert ,looks there is so many rare numbers. This muyykE muyya is a popular number that maharajapuram santhanam used to sing , I have heard it live and went gA gA . I think the rAgam is (mishra?) shivaranjani.

Jagshari,
Tx for your report

[Nick H]

Welcome to the site, jagshari.

Manorama Prasad played a key role in my falling off the Indian Music fence on the carnatic side.

[Sreeni Rajarao]

Jagshari,

Thank you for the detailed report!

As Ravi has asked in post # 2, any recording?

Please tell Smt Manorama there is a special request for recording from Sreeni Rajarao ( I hope this will work!)