Ghanam Krishna Iyer Padams

[ramya135]

Namaskaram all of you

I am Ramya currently working on Ghanam Krishna Iyer Padam Compositions for my thesis.. It will so helpful if you could help me out with my doubts in my thesis work..

Can someone please help me out with English translation of his two padams

1. Arivenayya un Antaragam
2. Made avar seida vanchanai

There is lyrics of Padam but was not able to gain the proper translation for this padams.. unless and until I understand the meaning of this padams I will not able to do justice to my thesis..

[Lakshman]

Here are the two songs:

arivEnayyA un antarangam. rAgA: aThANA. rUpaka tALA. Ghanam Krishna Iyer.

P: arivEnayya un antarangam ellAm vegu nanrAi
A: piriyAmal ennuDanE kUDi pEdaiyAm appeNNai nADi
veri koNDavan pOlE angoDi vINukkingu vandIrO tEdi
C: Ashai pAsham ellam angE ANai iDuvadellAm ingE
pUjai sheivadellam angE purattu peccugaL ingE
vEsiyai nI pugazhvadangE vImbuDan ennai vaivadingE
kasai iraippadellAm angE kaNakkeduvadellAm ingE


mAdE avar sheida. rAgA: bhairavi. rUpaka tALA. Ghanam Krishna Iyer.

P: mAdE avar sheida vancanai marappEnA ennEramum maruvi aNainda sukhattai manadilE eNNAmal
A: bhUtalam engum pugazh paDaitta puNNiyavAn muttayya bhUpAlan aruLiya
nAthanAm ellAkki rAmabhadra sAmikku jyAyamAi shollaDi aDiyE mAtE
C1: mangaLamAga shukravArattilE mAlaiyiTTu malaraNaiyil ennaik-
kankaNam kaTTiyadu mudalil ippOdu kaNDa kaNDa pEr naghaikku iDamAgap-
peNgaL edirE nAn kaN kalakkam eida shankaiyillAmal vangaigaL sheidArE
engE aDukkum inda naDattaigaL enakku migha buddhi vara shonnAraDi
2: sondamAghavE irundu mettavE sogusAi surada vinOdangaL sheidAr
antarangamenru eNNi nambinEn AnAlum enakku drOham sheidAraDi
ennEramum migha vindai sheidAraDi enda nALilum sondam viDAdaDi
vandanam sheidu vaNangi irundum manadillaiyO talaiyezhuttO aDi

[ramya135]

Thanks lot sir... It would be so helpful if someone could give me a English translation for this lyrics..Thank You Lakshman Sir..

[rshankar]

Thanks lot sir... It would be so helpful if someone could give me a English translation for this lyrics.

aRivEnayyA was discussed previously - click here.

If you want the bhairavi composition (mAdE avar seida...) translated, give me a couple/three days.

[ramya135]

Thanks a lot sir ... Kindly help me with made avr seida Padam translation too.. Thank you sir

[Lakshman]

mAdE avar sheida. rAgA: bhairavi. rUpaka tALA. Ghanam Krishna Iyer.

P: mAdE avar sheida vanjanai marappEnA ennEramum maruvi aNainda sukhattai manadilE eNNAmal
A: bhUtalam engum pugazh paDaitta puNNiyavAn muttayya bhUpAlan aruLiya
nAthanAm ellAkki rAmabhadra sAmikku jyAyamAi shollaDi aDiyE mAtE
C1: mangaLamAga shukravArattilE mAlaiyiTTu malaraNaiyil ennaik-
kankaNam kaTTiyadu mudalil ippOdu kaNDa kaNDa pEr naghaikku iDamAgap-
peNgaL edirE nAn kaN kalakkam eida shankaiyillAmal vangaigaL sheidArE
engE aDukkum inda naDattaigaL enakku migha buddhi vara shonnAraDi
2: sondamAghavE irundu mettavE sogusAi surada vinOdangaL seidAr
antarangamenru eNNi nambinEn AnAlum enakku drOham seidAraDi
ennEramum migha vindai seidAraDi enda nALilum sondam viDAdaDi
vandanam seidu vaNangi irundum manadillaiyO talaiyezhuttO aDi

[ramya135]

Thank you Lakshman sir.. I would be so thankful if I could get a translation for this Padam ... Thank you sir

[rshankar]

Thank you Lakshman-ji for the lyrics.
This protagonist of this padam is a nAyikA who is distraught at the repeated perfidious treachery of her husband, and is confiding he anguish to her friend.

pallavi
mAdE avar seida vanjanai maRappEnA ennEramum
maruvi aNainda sug(kh)attai manadilE eNNAmal (mAdE…)
Oh damsel (mAdE)! Will I forget (maRappEnA) the deceit (vanjanai) perpetrated (seida) by him (avar) without considering/thinking of (eNNAmal) the happiness (sugattai) from when he embraced (maruvi) and held (aNainda) me at all times (ennEramum), in my mind (manadilE)?

anupallavi
bhUtalam engum pugazh paDaitta puNNiyavAn muttaiya bhUpAlan aruLiya
nAthanAm ellAkki rAmabhadra sAmikku jnyAyamAi sollaDi aDiyE mAdE (avar seida…)
Oh damsel (aDiyE mAdE), do tell (solladi) EllAkki [1] Ramabhadran (ellAkki rAmabhadra sAmikku), the Lord (nAthanAm) granted (aruLiya) by the virtuous (puNNiyavAn) king (bhUpAlan) Muttaiya, who is renowned (pugazh paDaitta) everywhere (engum) on this earth (bhUtalam), with refinement/propriety (jnyAyamAi) (that I will not forget the deceit perpetrated by him…).

caraNam 1
mangaLamAga shukravArattilE mAlaiyiTTu malaraNaiyil ennaik-
kankaNam kaTTiyadu mudalil ippOdu kaNDa kaNDa pEr nagaikku iDamAgap-
peNgaL edirE nAn kaNkalakkam eida shankaiyillAmalE vangaigaL seidArE
engE aDukkum inda naDattaigaL enakku miga buddhi vara sonnAraDi
From the day/time (mudalil) he auspiciously (mangaLamAga) garlanded (mAlaiyiTTu) me (ennai) on a Friday (SukravArattilE), and tied (kaTTiyadu) the string that binds us together (kankaNam) [2] on a flower-bedecked seat (malaraNaiyil) until now (ippodu), he has made me the laughing stock (nagaikku iDamAga) of all and sundry (kanDakanDa pEr): He perpetrated (seidArE) so many acts of mischief and deceit (vangaigaL) without (illAmal) any hesitation or doubt (sangai) in front of (edirE) other women (peNgaL), making me (nAn) weary (eida) with tears (kaNkalakkam). He then explained (sonnAr) in detail (miga) and tried to make me (enakku) understand (buddhi vara) where (engE) these (inda) behaviors (naDattaigaL) [3] will lead to (aDukkum).

caraNam 2
sondamAgavE irundu mettavE sogusAi surada vinOdangaL seidAr
antarangamenRu eNNi nambinEn AnAlum enakku drOham seidAraDi
ennEramum miga vindai seidAraDi enda nALilum sondam viDAdaDi
vandanam seidu vaNangi irundum manadillaiyO talaiyezhuttO aDi
With familiarity (sondamAgavE irundu), and great (mettavE) refinement (sogusAi), he became one with me (surada vinodangaL seidAr). I believed (nambinEn) that (enRu) this was an intimate and private relationship (antarangam) [4], but (AnAlum) he was treacherous (drOham seidAr) to me (enakku). At all times (ennEramum) he was able to create (seidAr) several (miga) magical moments (vindai). I will not be free (viDAdu) of this relationship (sondam) at any time (enda nALilum). Despite having bowed (vaNangi irundum) with reverence (vandanam seidu), is it not in his heart (manamillaiyO) [5], or is it my fate (talaiyezhuttO), dear friend (aDi) [6]?
FOOTNOTES
[1] I think ellAkki is a sort of title
[2] kankaNam is a yellow thread with a piece of turmeric on it that is tied to the wrist of the bride (and groom) binding symbolizing that they are now bound to each other
[3] I think ‘these behaviors’ refers to the nAyika’s tears, and her husband’s admonishings as to what could happen if she kept it up
[4] She believes that this intimate friendship of theirs is bound by fidelity
[5] I think the nAyikA is wondering if her husband has no desire for fidelity, or is it her fate to be married to a unfaithful man
[6] The word aDi used profusely is a term of familiarity used to address the sakhi, who is either the nAyikA’s social equal and intimate friend OR someone who is below her in the social heirarchy

[ramya135]

Thanks a lot Shankar sir....

[ramya135]

Namaskaram sir... Can someone please help me with the audio for this song... I am unable to find the notations.. I will be so thankful if someone could help me out with the audio reference... thank you so much sir..

1. Ennamo Vaghaiyai Varugude mane

2. Tiruvettiyur Thyagarajar

3. Arivenayya un antaragam

4. Ethanai Nal Virahamudan Sahippen Sami

5. Mate avar seida vanchanai

For the abouve mentioned songs of Ghanam Krishna Iyer...

Thanks a lot sir .. I will so thankful if someone could help me out...

Regards
Ramya N

[RaviSri]

Here's ' tiruvotriyur tyAgarAjan' sung by T.Balasaraswati, while dancing. Accompanying her is Sunda Mami (Smt A.R.Sundaram, the first disciple of T.Brinda). You can hear the gejjai in the background. I'll upload 'mAdhe avar shEida' shortly. I don't have the other songs in your list.

https://archive.org/details/Tiruvotriyu ... laAndSunda

[RaviSri]

'mAdhE avar sheida' sung by T.Viswanathan

https://archive.org/details/MadheAvarSheidaBhairavi

[RaviSri]

If you want you can add this. This is the authentic story told by the great Tamil savant U.Ve.Swaminatha Iyer. I have copied it from another thread in which I wrote this:

Bobbili Kesavayya came to Thanjavur and wanted to exhibit his musical prowess there, since he had heard that Thanjavur was the most prominent seat of music in the South. He asked for and was granted an audience with King Sarabhoji who also granted Bobbili his request for exhibiting his musical prowess in the court. On an appointed day, Bobbili exhibited the Ghanam style of singing. This is supposed to be a very complicated style of singing and includes something called the ‘chakra tAnam' (People may remember that an ancestor of Chembai Vaidyanatha Bhagavatar was known as Chakratanam Subbier - he might have been an expert in this type of tAnam. Personally I know nothing about either ghanam or chakratAnam).

The vidvans of the Thanjavur court were awestruck at this exhibition of a singing style that they had never heard before, such was the grandeur of the style as well as Bobbili’s prowess at it. The vidvans included Pachimiriam Adiyappayya (composer of the viribONi varNam), Pallavi Gopalayyar (composer), Veenai Subbukutty Iyer, Todi Seetaramiah, Sankarabharanam Narasiah and many other luminaries of those times. After Bobbili finished singing he asked Sarabhoji whether anyone in his court could exhibit this style. Sarabhoji told him that he would inform him and housed Bobbili in comfortable quarters. Sarabhoji later asked his court whether anyone knew the ghanam style. None volunteered upon which Sarabhoji remarked that it would be a shame if Thanjavur could not exhibit this style. “Is there none in this sabhai who can learn this style and exhibit it?”, asked he. It was left to Pachimiriam Adiyappiah and Pallavi Gopalayyar to suggest that only one musician had the capability to achieve this feat and that was Krishnayyar. Sarabhoji asked Krishnayyar to learn from Bobbili the essentials of the ghanam style, practise it and sing it in court. Krishnayyar learnt the essential theories that formed the basis of the style.

Sarabhoji requested a zamindar called Ramabhadra Moopanar to provide all facilities for Krishnayyar to practice ghanam. Moopanar, who had much landed property in and around the village of Kapisthalam on the banks of the Cauvery, on the route between Tiruvaiyyaru and Kumbhakonam, constructed a house for Krishnayyar on the banks of the Cauvery and made all arrangements for the musician to practise in seclusion. The practice of the ghanam style involves a lot of physical effort and it seems it heats up the body. To offset this, Moopanar had a person exclusively standing by Krishnayyar with a bowl of butter in hand. Whenever Krishnayyar, in the course of his practice felt that his body was heating up, he dipped into the bowl and ate some butter. Weeks passed by and finally Krishnayyar felt he was competent enough to handle ghanam. Returning to Thanjavur he sang the ghanam style with the chakra tAnam brilliantly. Bobbili himself was happy and conceded that Thanjavur was indeed great. Sarabhoji conferred the title of ‘Ghanam' on Krishnayyar. Thenceforth he came to be known as Ghanam Krishnayyar. There was no pOTTi or triumph or defeat for anyone. Thanjavur exulted that its premier position in music was intact. Bobbili stayed for a few more weeks enjoying the Thanjavur hospitality and left.

Acknowledging the stellar role played by Ramabhadra Moopanar, Ghanam Krishnayyar composed a sringAra padam with Moopanar as the nAyakA and the padam is, ‘mAdE avar sheida vanjanai marappEnO’ in Bhairavi, a favourite of the Dhanammal family. Krishnayyar mentions Moopanar’s name in the anupallavi (nAdanAm ellArkki rAmabhadira sAmikku nyAyamA…).

Incidentally Ramabhadra Moopanar was also a friend of Thyagaraja and the latter is said to have stayed in Moopanar’s place a few times. Moopanar was a patron of the arts, of musicians, poets and also Tamil scholars. Ramabhadran’s father and son were also patrons of the arts and artists.

U.Ve.Sa’s account can be taken as authentic because he knew people who knew Pallavi Gopallayar, Pacchimiriam Adiyapiah, Veenai Subbukutti etc. He lived in Ariyalur, Tiruvavaduthurai and Kumbhakonam for several years and was besides, learned in music, having learnt from his father and uncle as also from composer Gopalakrishna Bharati.

The dramatic drafting of Shyama Sastri into the 'Quell Bobbili' project and the latter’s plunging headlong into it after composing a chintAmaNi of a song, ‘dEvi brOva samayamidE’, his employment of sharabhanandana to counter simhanandana, all these are the stuff of Tamil/Telugu movies, not serious music history. Thank God, the hagiographers have not written that SS brought Bangaru Kamakshi Herself to the Thanjavur court. That would have been another interesting travel for the Goddess after Her two centuries of wearisome travel from Kanchipuram to Thanjavur where She ultimately settled.

[rajeshnat]

Ravisri
Has chakratanam ever got morphed to something else .I just googled to find that chakratanam was also practiced by Govinda Marar and there is a mention that chembai vaidhyanatha bhagavathar used to sing this . Possibly there may be atleast a reference or if we are lucky a rendition of chakratanam is available(@srkris do you have any chembai chakratanam renditions). I remember you also writing that GK moopanar is grandson or great grand son of Ramabhadra moopanar of kapisthalam.

[rshankar]

(nAdanAm ellArkki rAmabhadira sAmikku nyAyamA…).

RaviSri - Thanks for that lovely and comprehensive narrative. I have a question - what does ellArkki mean?

[RaviSri]

ellArki is ellArkku irAmabhadira. Joined it becomes nAdanAm ellArki rAmabhadira.

G.K.Moopanar was Ramabhadra Moopanar's great grandson.

Chakratanam was not sung by Chembai, but by his grand uncle Chakratanam Subbayyar