Savita Narasimhan @ Music Academy 27-12

[sureshvv]

Crystal clear consistently melodious voice

Charulatha Ramanujam
Umayalpuram Mali
Nerkunram Sankar

1. Nadatanumanisham
2. Raju vedala chutamu rare
3. Devagandhari, Saradhambike, Sivan
4. Sri kalahastisa, husseini, D
5. Nattaikurinji, Mayamma, SS, s
6. Seethamma Mayamma, Vasantha
7. RTP, Hameerk, adi

Rama raghukula soma!
ripu jalada sameera kalyana! !

Ragamalika swaras in kalyani, behag

[Ananth]

What a glorious choice of ragas! Though half the people inside including me are here only because Sanjay sings next.

[arasi]

Suvreshvv,

I remember hearing her some years back at the MA and really liking her singing--then too, just before Sanjay's concert.

Hope you continue your commentary this evening

[kvchellappa]

Yes, I second Arasi.

[sureshvv]

Post thani

1. Smarasundaranguni, paras
2. Viruttam, munnam avanudaya naamam, desh, hamsanandi, khamas
3 theruvil vaarano

[sureshvv]

Deal arasi... Pls. tell us the context of this viruttam & song

[tanapp]

The RTP kalpana swara also had another janya of Kalyani viz Saranga.

[arasi]

Suresh,
Appar's verse, someone knowledgeable will elaborate on, I hope.

teruvil vArAnO, ennai saTRE tirumbip pArAnO? by muttu tANDavar was a popular dance item in the forties and fifties...

[kvchellappa]

Munnam avanudaiya namam kettAL is appar's song with rich philosophical connotation etched in srungara rasa of a nayaki yearning after nayaka (like gopi, andal, etc.). It has been immortalised by Kalki as the song to which Sivakami dances and Kalki has created Sivakami as pining after Narasimha, a love that ends in disappointment. Kalki carries much of the philosophical significance of the song into the story in a very subtle and classic way. She hears the name first and then his form. Finally, the Paramporul is without name or form. Sivakami goes after Narasimha, with a name and form, but mortal; and dedicates herself to the Paramporul which is without name and form.

[kvchellappa]

Google help:
A padam by MuttuttANDavar

rAgam: khamAs tALam: rUpakam

This padam is about a lovelorn maiden (devotee) who looks out for the passing chariot--palanquin/procession carrying the lord of Cidambaram hoping to have a darshan and a loving glance of compassion from him to assuage her longing for the lord Nataraja. She is wondering whether the street in which she lives will be on the procession route and whether the lord will cast a glance at her waiting at her door-front. She wishes that the lord will halt in front of her door and whisper sweet nothings to her. Let us read the padam and its meaning. Thamizh script is given first and Roman script version can be seen further down.
பல்லவி:
தெருவில் வாரானோ என்னை சற்றே திரும்பிப் பாரானோ (தெருவில்)
அனுபல்லவி
உருவிலியோடு திரிபுரத்தையும் உடன் எரி செய்த நடனராஜன் (தெருவில்)
சரணம் 1
வாசல் முன்னில்லானோ எனக்கொரு வாசகம் சொல்லானோ
நேசமாய் புல்லேனோ கழை வைத்த
ராசனை வெல்லேனோ தேசிகன் அம்பலவாண நடம் புரி
தேவாதி தேவன் சிதம்பர நாதன் (தெருவில்)
சரணம் 2
போது போகுதில்லையே எனக்கொரு
தூது சொல்வாரில்லையே
ஈதறிந்தேனில்லையே என்மேல் குற்றம் யாதொன்றுமில்லையே வேதனுமாலு-முவாயிரரும் சூழ விண்ணவரும் தொழ ஆடிய பாதன் (தெருவில்)
சரணம் 3
மெய்யென்றிருந்தேனே அவனிட சைகை அறிந்தேனே மையல் தணிந்தேனே பசத்திடு
மெய்யும் குளிர்ந்தேனே வையகமுய்ய பதஞ்சலி போற்றிட வாழும் கனகசபை நடராஜன்
(தெருவில்)

[rshankar]

Suresh,
We have discussed teruvil vArAnO several times in the past - IMO, the unfortunately not-sung third caraNam is the crux of this song, where it seems to literally turn on a point from sRngAra into bhakti - amazing skill of the composer.

Did Smt. Savitha sing the third caraNam? And how did she sing the AP? As naTanarAjan or naTanarAsan? And rAjanai or rAsanai in the caraNam?

pallavi
teruvil vArAnO ennai SaTRE tirumbip-pArAnO

In the pallavi, the heroine hears sounds of the Lord’s procession setting out from the temple, and wonders: "Will be come by (vArAnO) the street (teruvil) my house is on? And will he deign to at least turn back (tirumbi) and look (pArAnO) at me (yennai) even for a fleeting moment (SaTRE)?"

anupallavi
uruvilliyODu tripurattaiyum uDan eri Seida naTarAjan

In the anupallavi, the heroine reveals the identity of the Lord she is pining for: He is none other than the Lord of dances (naTarAjan), who burnt (eri Seida) the 3 worlds (tiripurattaiyum) to cinder, as well as (Odu/uDan) manmatha, who is without (illi) form (uru).

caraNam 1
vAsal munnillAnO enakkoru vAcakam SollAnO
nEsamAip-pullEnO kazhai vaitta rAjanai vellEnO
dEshikan ambalavANan naTam puri dEvAdi dEvan cidambaranAthan (teruvil vArAnO)

The heroine yearns: "Will he not halt (nillAnO) in front of (mun) my door (vAsal), and will he not speak (SollAnO) a few loving words (oru vAsakam) to me (enakku)? Will I not blossom (pullEnO) in love (nEsamAi), and win over (vellEnO) the heart of my lord (rAjanai) who bears/holds (vaitta) a trident (kazhai)? Will my handsome (dEshikan) lord, who is a god (dEvan) among gods (dEvadi), who dances (naTam puri) forever in my consciousness and in the theater in the skies (ambala vANan), the lord (nAthan) of cidambaram, not come by my street?"

caraNam 2
pOdu pOgudillaiyE enakkoru tUdu SolvArillaiyE
idarindEnillaiyE enmEl kuTRam yAdonrumillaiyE
vEdanumAlum-muvAyirar sUzha viNNavarum tozha ADiya pAdan (teruvil vArAnO)

The nAyika laments: "Time (pOdu) is not passing quickly (pOgudillaiyE) enough, and these moments of separation seem to last forever! I (enakku) do not have (illaiyE) anyone (oru) to carry my message (tUdu SolvAr) of love, and I did not realize (arindEnillaiyE) this (idu). However, there is no (illaiyE) chance of any (yAdonrum) blame (kuTRam) attaching to me (en mEl) for this. Will the lord, the one whose feet (pAdan) danced (ADiya) even as brahmA (vEdanum), vishNu (mAlum), and the 3000 dIkshitas (muvAyirar) of cidambaram surrounded (sUzha) him, and the gods (viNNavar) worshipped him (tozha), not come by my street?"

caraNam 3
mei enrirundEnE avaniDa Seigai arindEnE
maiyal taNindEnE paSattiDum meyyum kuLirndEnE
vaiyagamuyyap-patanjali pOTriDa vAzhum kanakasabhai naTarAjan (teruvil vArAnO)

In this final caraNam, the heroine's SringAra turns into bhakti. She says, "I used to think that (enru irundEnE) truthfully (mei), I would unite with him, but I have now understood (arindEnE) the meaning behind the gesture (Seigai) of his (avan) left (iDa) hand [1]. My infatuation (mayyal) for him has abated (taNindEnE), and my body (meyyum), which had become pale (paSaittiDum) in my love for him, is now consoled (kuLirndEnE). Will the lord who resides (vAzhum) in the golden (kanaka) hall (sabhai), the Lord naTarAjan who is praised by (pOTriDa) by the sage patanjali, not come by my street, so that the world (vaiyyagam) may benefit/survive (uyya)?"

FOOTNOTE
[1] When he dances, the lord's left hand is held such that his index finger points to the demon-child, muyalakan, on whose back he is dancing. This demon represents ignorance, and one purpose of the cosmic dance of Siva is to destroy ignorance, and foster enlightenment in his devotees. In this composition, the reference is that as soon as the nAyika understands this, her ignorance (her infatuation for him is a manifestation of her ignorance) is destroyed, and her SringAra transforms into bhakti

[satyabalu]

"When fine artistes cleverly weave the madhyamas in a phrase, the raga comes alive in all its glory."
This has come true with Savitha Narasimhan handling Hamirkalyani
RTP besides other no.s.Gouravamana Sangeetham be it
"Mayamma" of Shyama Shastri ,Paras Javali of Dharma puri Subbarayar or Kamas Padam"Therivil Vaarano"of Muthuthandavar to sign off!

[arasi]

Ravi,
I should have recalled your super translation

As Satyabalu says, she would have sung it with gauravam and sensitivity...

[HarishankarK]

[quote="sureshvv")
2. Viruttam, munnam avanudaya naamam, desh, hamsanandi, khamas
[/quote]
This song has been sung by MLV in Parthiban Kanavu (old) in Senchurutti, Saranga and Kanada. That rendition is very good as well and watching Kamala's dance and abhinaya one can understand the meaning.

[KNV1955]

For me the best concert of the season so far. (out of 12 concerts)

[pattamaa]

it was mayamma in nattakurinji... happy to see charulatha ramanujam and umayalpuram mali supporting well....

[sureshvv]

For me the best concert of the season so far. (out of 12 concerts)

Yes. Definitely one of the best. Pity we get to hear her once a year only.

[sureshvv]

2. Viruttam, munnam avanudaya naamam, desh, hamsanandi, khamas

This song has been sung by MLV in Parthiban Kanavu (old) in Senchurutti, Saranga and Kanada. That rendition is very good as well and watching Kamala's dance and abhinaya one can understand the meaning.

Thank you sir.

https://www.youtube.com/watch?v=j0UpBtytgWE

Sounded even better as a viruttam without percussion constraint.

[gardabha_gana]

Did AIR record it? Bootlegged version available?

[Meera]

Savita is scheduled to perform in KGS on 2.01.16, 4 p..m.

[tanapp]

This very viruttam is sung in this video live by Savita for a lecdem by Dr. Gowri Ramnarayan for the JustUs production 'Fire and Ash':

https://youtu.be/faaES8CjrmY?t=1h11m22s

The KGS kutcheri by Savita has been converted into a 'Fire and Ash' show due to popular demand for a season screening.

Also, the Hamsanandi deduction in the review above, needs to be corrected to Pantuvarali with a Hindustani touch i.e. Puriya Dhanashri-ish sans Pancnhamam.

[HarishankarK]

Song 3 should be Sharade Veena Vadana Visharade.

[HarishankarK]

Is it a good idea to do an RTP in hameerkalyani and then do swaras in Kalyani and Saranga?? Must be confusing for the listeners.

[anandganapathy26]

The Hindustani raga was Basant ( Pa varjya ) but with both Ma1 and Ma 2 . It was a wonderful concert indeed

[sureshvv]

Is it a good idea to do an RTP in hameerkalyani and then do swaras in Kalyani and Saranga?? Must be confusing for the listeners.

Bombay Jayshree also seems to like to do this. For eg. Malayaamrutham and Valachi both in the ragamalika swaras.

[Meera]

Today 9.30 p.m madras A will broadcast a portion of this concert.just announced.