Jayachamaraja Odeyar (Mysore Maharajah) - Part II

meena · Post by **meena** » 05 Jan 2006, 10:02

Lji
Pl. do .thanku

cmlover · Post by **cmlover** » 05 Jan 2006, 11:22

Thanks DRS and welcome back! We need you!
A very happy New Year to you!
Now pl explain for us the characteristics of Sivakambhoji...
Is this a raga invented by Wodeyar?

Raja Chandra · Post by **Raja Chandra** » 06 Jan 2006, 01:17

DRS,

bahaLa saMtosha
nimage mattu nimma shrImatiyavarige hosa varShada shubAshayagaLu

Friends please d/l

http://rapidshare.de/files/10464032/kAM ... a.jpg.html

this is from mummaDi krishna rAja odeyar's svaracUDamaNI on kAMbhOjI rAga

text:
kAMbhOjIrAga

kAMbhOjIrAga svarUpa:

pItaM vasAnA vasanaM sukEshI
vane rudaMtI shukanAdadUnA |
vilOkayaMtI vidishAsu bhItA
kAMbhOjikA kAMtamanusmaraMtI ||

rAga lakShaNa :

dhAMshanyAsagrahA pUrNA pauravI mUrCanA matA |
mallArI nikaTe geyA kAMbhOjI sA nigadyatE ||

mUrCanA:

ni sa ri ga ma pa da

meena · Post by **meena** » 06 Jan 2006, 11:34

thanku RC

Raja Chandra · Post by **Raja Chandra** » 06 Jan 2006, 22:52

Now pl explain for us the characteristics of Sivakambhoji...
Is this a raga invented by Wodeyar?

This is what Sri.S.Krishna Murthy ( grand son of MV) says in an artilce - A Prince among Composers:

Janaka ragas seemed to enjoy greater favor with Jayachamaraja Wadiyar: about 30 compositions make use of them. He also used the less known ragas like Bhoopala Panachama, Bhoga Vasanta, Balachandrika, Bhanuchandrika, Hansanatini, Hansavinodini, Neelaveni, Nadabrahma, Durvanki, Shivakambodhi, Shuddhasalavi, Suranandini,. Thanks to his compositions , these ragas have come to into their own. What better tribute can the music world pay to its prince ?

oDeyar has invented a rAga - jayasaMvardhani in his composition || pAhimAM shree || set to KaMDatripuTa tALa.

cmlover · Post by **cmlover** » 07 Jan 2006, 01:18

Thanks RC for that valuable info.
Pl post these raga lakshanas if you have them as well as their renderings by any artistes. These gems ought to be brought to light for the greater enrichment of CM. the more we hear about the talents of JC the more our admiration grows! Let us atleast appreciate him posthumously...

Any chance of persuading the Royal family to make public JC's musical contributions and recordings?
Just curious! Did he contribute to HM as well?

Raja Chandra · Post by **Raja Chandra** » 07 Jan 2006, 22:56

Pl post these raga lakshanas if you have them as well as their renderings by any artistes.

please d/l

http://rapidshare.de/files/10591705/22_ ... i.mp3.html

http://rapidshare.de/files/10592099/02K ... m.mp3.html

It is some coincidence the last three kRuti's are all about kAmbhOdi. rAga ? yadukulakAmbOdhi, mALavi and shiva kAmbodhi !

please d/l notations of mALavi and pl let me know if such d/l are useful ?

http://rapidshare.de/files/10595521/saM ... i.pdf.html

Raja Chandra · Post by **Raja Chandra** » 08 Jan 2006, 00:07

Just curious! Did he contribute to HM as well?

you mean he composed in HM OR contribute in any other sense ?

brahmAMDavalayE in mAMD may be the nearest one to HM !

cmlover · Post by **cmlover** » 08 Jan 2006, 11:41

Is that his own writing? I hope someone can transliterate..
I wouldn't consider maaND as HM unless the format is HM.

Meena
Do we have this song?

meena · Post by **meena** » 08 Jan 2006, 11:59

cml
if ur asking if we have the maND kriti, then the ans. is yes . # 50. brahmANDavalayE-mAND-Adi tALa.
and I dont think its sree HHJW writing, for its dated 12- 2004!

Kji
do u know to read kannada script? if so pl. help us here, it took me abt 1 hr just to read the first line. I threw the towel!!!

meena · Post by **meena** » 08 Jan 2006, 13:20

SaNkari sadAnaNdalaharI - mALavi - Adi

pallavi:
SaNkari sadAnaNdalaharI pAhi
SaNkari sadAnaNdalaharI pAhi
SaNkari sadAnaNdalaharI pAhi
SivAnaNdahari SrI girirAjakumAri

anupallavi:
SaradiNduvadanE sumanOhari
SaradiNduvadanE sumanOhari
SaNkara guhamOda SrI vidyArUpiNi SAkaMbari SAtOdari
SApavimOcanakari SyAmalasuNdari

caraNaM:
anAdharakshaki bRhannAyaki
anAdharakshaki bRhannAyaki
anAdi gurusaMpradAya rakshaki (darSaki)
sarasIruhAsana sumanOllAsinI
sarasIjanAbha vakshasthaLa nivAsinI
sahasrakiraNAdi suragaNapAlini sahasrasUrya prakASini
aharniSa kyvalyAnaNdadAyani ahaNtAtIta manONmani

~thanks to divakarji for helping with the translation, for us .

Raja Chandra · Post by **Raja Chandra** » 08 Jan 2006, 13:29

Is that his own writing?

No . All his original notes with westeran notations and dates are with S.Krsihan Murthy !

As for mAMD, i agree with you but as i did not understand your question, i just gave that answer.

But oDeyar was a fellow and president of Sangeet Natak Akadeny during 1963-65 and has indirectly served the cause of all types of classical music and art forms

This is what Dr. Narayan Menon has said:

He was the President of the Akademi, perhaps the most distinguished, dignified and enlightened President the Akademi has had in its twenty-five years. As President, he brought to the deliberations of the Akademi-whether the Annual General Council meetings or the more frequent Executive Board meetings the authority of one who was born to lead and the wisdom of one who had acquired it through study and hard work, through humility and compassion. He was gentle and tolerant, a good listener, fair in comment and cool in judgment. Seldom have I attended Committee and Council meetings where the Presence and gentle authority of the Chairman has cut out irrelevancies, bureaucratic Chores and the usual time Killers with dignity, and with deference to all concerned.

??

He was a member of the Advisory "Board of the National Center for the Performing
Arts and he had a special interest in bringing Eastern and Western music closer not to create a synthesis of the two, but for a better awareness by votaries of the one for the other. As always, his interest in such matters did not remain purely academic but was backed up by concrete help.

?..

I have many happy memories of Shri Jayachamaraja Wadiyar - his princely aristocratic demeanor, his wide sense of humanity and his warm and cordial hospitality. I remember too, many hours of civilized conversation. Some years ago Yehudi Menuhin was giving a recital at the Shanmukhananda HaIl under the auspices of the National Center. At one point, I turned back and suddenly found him sitting, right in the middle of the audience, engrossed in the music. He happened to be in Bombay, saw the recital advertised, so quietly bought some seats and turned up unnoticed. During the interval it took some persuasion to drag him to a. more comfortable seat. The next day the Center entertained him to an informal quiet lunch in one of the suites at the Taj, and that was the last occasion that I was with him.

Raja Chandra · Post by **Raja Chandra** » 08 Jan 2006, 13:44

Any chance of persuading the Royal family to make public JC's musical contributions and recordings?

perhaps oDeyar was a very reticent about making public his own contributions. He only wanted his compositions to be sung by his asthan vidwans daily while he was engrossed in his elaborate daily poojas. They became public knowledge only thro' these select vidwans.

Only S.K. perhaps could take the courage and publish them.

Just read what Mr. K.Gurudutt ( he worked with JCRW for few years) :

He wrote several works and delivered numerous lectures on religious and pholosphical topics in India and abroad. There are also a few important unpublished works eg.. a comprehesnive traetise on Yoga which i had the privilege of reading in type-script and of discussing with him.

Here was a king who has published so many classical works and vedas but did not want to publsh his own works.

As he said to his sister : It is my humble offering to Devi".

God only knows where these treasures are now, who has stolen and who has published it as their own works - anything is possible !

srkris · Post by **srkris** » 08 Jan 2006, 15:54

Here was a king who has published so many classical works and vedas but did not want to publsh his own works.

RCji,

Can you please let me know the vedic works written/published by Sri Wodeyar?

Raja Chandra · Post by **Raja Chandra** » 08 Jan 2006, 23:46

chembai, just RC will do !

from part-1 :

shree Odeyar has published many books under the series " shree jayachAmarAjEndra vEdaratNamAlA (around year 1953) this was a first ever attempt to translate the vEdA's and upansihad's to kannaDa. AsthAn mahAvdvAn h.p.venkata rao was the translator and editor and he was assisted by a galaxy of vidvAn's like shree g.n.chakravarthi, shree g. vishnumoorthybhattaru, shree h.ganagdharashastri, shree srinivasa shastri, shree hittavaLLi bilgiriraMgajOyisaru, shree hittavaLLi dEvarabhattaru, shree veMkataramaNAchAr, shree s.raMganAthan, shree puttoor anaMthakRushNamAchAr, shree seetArAmashastri.

interesting thing is each sookta has translation in kannada and english with explanation and meaning etc.

these were published after independence, it was funded by his personal funds.
unfortunately copies are not available any where.
------
Contd.

It is said that he handed over all the rights to University of Mysore. But my efforts to trace them have failed ( despite my sister & brother in law both being professors at gangotri !)

ironically i managed to get one book of RugvEda from a second hand book shop !

Here is a list of books published by oDeyar:

RugvEda - in 35 parts; shaMkarAcArya's stOtras - in 2 parts; MUkapaMcashatI; kAmakalpa tarustava; tripurasuMdarI mAnasika pUjA; gurugItA; shivagItA; mahAmasta purashcaraNa vidhiH;ShoDashI pUjA kalpa; bhuvanEshvarIpUjakalpa; rudra mahAnyAsa prayOga; sUktagaLu

purANagaLu.

dEvI bhAgavata; shivapurANa; shivarahasya; skAMda mahApurANa; kALikA purANa; vaRAha purANa; bhaviShya purANa; gaNesha purANa; vAmana purANa; kaMcImahAtmye; viShNudharmOttarapurANa; brahmAMDapurANa; nAradIya purANa; rAmamaMtra mahime, (agastya saMhite); narasiMha purANa; sAMba purANa ; saura purANa; Adi purANa; kalki purANa; matsya purANa; kUrma purANa; shivatatva purANa; hAlasya mahAtmye; gArgya saMhitA; brahmavyevarta purANa
brahma purANa; shaMkara saMhite; padmapurANa; viShNu purANa

maMtrashAstra -sahasranAma - upaniShat

parivAsya rahasya; tripurAtApinyupaniShat; lalitAtrishatibhAShya;
tripurArahasya; shrIKAMDasArArthabhOdhinI; sUta saMhitE; vanadurgOpaniShat; shAradAsahasranAma; gaNeshasahasranAma;
dakShiNAmUrtisahasranAma; shiva pUja paddhati

srkris · Post by **srkris** » 09 Jan 2006, 00:11

Hmm. Seems to be a pretty exhaustive list.

ironically i managed to get one book of RugvEda from a second hand book shop!

Your tryst with second hand book shops seems to be yielding good dividends. Hope the missing books are unearthed. I guess they might be available with any discerning persons with whom Wodeyar might have maintained contacts... Dont know what to say!

drshrikaanth · Post by **drshrikaanth** » 09 Jan 2006, 06:33

Folks, I am starting from a little behind. First the mALavi kRti.

mAtu for || Sankari sadAnanda lahari ||

rAga: mALavi ; Adi tALa

Sankari sadAnanda lahari pAhi |
SivAnandakari SrI girirAja kumAri ||P||

Saradindu vadanE sumanOhari |
SankaraguhamOdE SrIvidyArUpiNi ||
SAkambhari SAtOdari SApavimOcanakari SyAmalasundari ||AP||

anAtharakShaki bRhannAyaki |
anAdiguru sampradAya darSaki |
sarasIruhAsana sumanOllAsini |
sarasijanAbha vakShasthalavAsini |
sahasrakiraNAdi suraguNapAlini sahasra sUryaprakASini ||
aharniSi kaivalyAnandadAyini ahamtAtIta manOnmani ||C||

drshrikaanth · Post by **drshrikaanth** » 09 Jan 2006, 07:31

Notes on || Sankari sadAnanda lahari ||

Sankari; sadAnanda lahari- Stream of perpetual bliss; pAhi- protect;
Siva Anandakari- You Who gladden Siva; SrI girirAja kumAri- Daughter of the king of mountains.

Saradindu vadanE- You with a cool moon face; sumanOhari- You Who win the good-hearted/Gods;
Sankara guha mOdE- You Who brings pleasure to Sankara and His son, subrahmaNya; SrIvidyArUpiNi- You in the form of SrIvidyA;
SAkambhari- You Who nourish & sustain all the greenery on earth;
SAtOdari- You with a slim waist/flat belly;
SApa vimOcanakari- You Who remove all banes/curses;
SyAmalasundari- Dark beauty

anAtha rakShaki- You Who are the protector of those orphaned and without a guide/leader; bRhannAyaki;
anAdiguru sampradAya darSaki- You Who enlighten the age-old path of guru-SiShya parampare/tradition;
sarasIruhAsana sumanOllAsini- You Who give pleasure to brahma seated on a lotus.
sahasrakiraNAdi suraguNapAlini- You Who protect and care for sUrya/sun and other Gods/dEvas;
sahasra sUryaprakASini- You with the effulgence of a 1000 suns;
aharniSi kaivalya AnandadAyini- You Who grant liberation and bliss day and night(Ever); ahamtA atIta manOnmani- O manOnmani Who is beyond ego/self.

srkris · Post by **srkris** » 09 Jan 2006, 08:20

Some clarifications/suggestions (if I may!):

Saradindu vadanE: face as pure as moon-dew
sumanOhari: heart-stealer of the good
bRhan nAyaki: great leader
sumanOllAsini: dancer in the heart of the good-thinkers
sahasrakiraNAdi: brilliance of a thousand rays
suraguNapAlini: protector of those who have god-like qualities
aharniSi kaivalya AnandadAyini - perpetually giving the joy of ultimate detachment

Pls forgive any errors and feel free to correct mistakes, if any. Thanks

Raja Chandra · Post by **Raja Chandra** » 09 Jan 2006, 23:42

Your tryst with second hand book shops seems to be yielding good dividends.

Well to tell you the truth, i picked up three more books on the same day ! One of them was a compilation of lectures by oDeyar's father - Yuvaraja Kanteerava Narasimharaja Wadiyar ! Interestingly one of the most erudite lectures given by the late Yuvaraja was at Madras on the occasion of the 12th annual music conference held on 23-12-1938. During this visit, Sir Alladi Krishnaswamy Aiyar unveiled a portrait of Maharaja KRW IV, Yuvaraja and Prince JCRW at the Modern Cafe, Madras on 29-12-1938 !

Curious to know if this cafe still exists and the portrait still adorns its walls ?

Raja Chandra · Post by **Raja Chandra** » 09 Jan 2006, 23:51

I guess they might be available with any discerning persons with whom Wodeyar might have maintained contacts... Dont know what to say!

Unfortunately during my last visit to this Quaint -non-descript book shop, i found Dattatreya by oDeyar. It was a rare book autographed by him as a personal gift to Late R.R. Diwakar - an eminent person ! Saddest part of it was the owner asked a fancy price and i did not carry that much cash with me and i missed the book the next day !! I still rue the day .

discerning persons or deserving persons ???

srkris · Post by **srkris** » 10 Jan 2006, 01:29

Curious to know if this cafe still exists and the portrait still adorns its walls ?

I have no idea since I havent heard of it, but here is an article which says the building still exists.

http://www.hinduonnet.com/thehindu/2001 ... 201288.htm

Next time I go there, I will be sure to check out whether the photo is intact, and maybe even procure it from the present owner for posterity.

discerning persons or deserving persons ???

Discerining, a person who knows how to appreciate what he gets.

cmlover · Post by **cmlover** » 10 Jan 2006, 02:08

Thanks DRS
That was quite straight forward!
Is there anything special we should know about Raga Malavi?

Prof SRJ claims that it was brought to light by Thyagaraja. Did Purandara/others try it?
Why no one yet has attempted and RTP in it? Is it due to the vakra nature?
Thanks for your views....

cmlover · Post by **cmlover** » 10 Jan 2006, 02:13

Thanks RC
for those personal reflections. Apparently JC was self-effacing like all great souls of history. It however does not preclude others who had contacts with him during his lifetime to bring to light his works. Especially his writings on the vedas must be brought to light! Did JC have any connections with Kapali sastri who hails from Karnataka who was instrumental in a number of publications on Veda and Tantra at the Aurobindo Ashram?

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 04:05

Raja chandra
when you say second-hand book shops, are you talking about Bangalore or Mysore. I ask this because I have not seen any 2nd hand shop worth mentioning in Mysore. There is one in Ballal circle which does not cater to artistic pursuits. The shopkeeper`s attitude is a turnoff too. The shops near lansdowne building again do not cater to music. On the contrary, i know pretty much every shop in Bangalore. I would be grateful to you if you can direct me to a decent 2nd hand bookshop in Mysore.

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 04:20

mALavi is a ubhayavakra upAnga janya of harikAmbOdhi, the 28th mELa. Its scale is

SR2G3M1PN2MD2NS* | S*NDNPMGMRS ||

R, M, N are jIva and nyAsas. The phrase "PNMDN" is the catch phrase and is oft repeated. The notes are sung plain without gamakas. Use of gamakas leads into other rAgas, notably Sahana. The avarOhaNa, espacially the phrase "PMGMRS" is akin to pUrNacandrike. These 2 rAgas are close. This rAga is evokes bhaktirasa. It has a light tone to it. Expanding it too long will cause forays into other areas.

I am not aware of anyone prior to SrI tyAgarAja handling the rAga. Deayar has shown the rAga clearly in the start of the pallavi itself.
"P,M, |D,N, | S*,S*N | DNP, |;M, |PMGM | R,; | SRGM ||"

Crisp rAga and a crisp kRti. The ciTTe swara adds beauty to the composition.

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 05:44

Here is the mALavi kRti from the AIR series rnedered by Sri R.K.Srikantan and R.S.Ramakant.

http://rapidshare.de/files/10750626/San ... i.wma.html

Please note the addition of a line 4 in the kRti`s caraNa just before the madhyama kAla sAhitya. I have added it in the mAtu.;- "sarasijanAbha vakShasthalavasini"

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 06:13

mAtu for the next kRti
|| kAmAkShi pAhimAM ||

rAga: SivakAmbOdhi; khaNDatripuTa tALa

kAmAkShi pAhimAM mInAkShi |
kanjadaLAyatAkShi karuNAkaTAkShi ||P||

kAmAri manOhari kaumAri gauri |
kamalapada SObhitE SrI tripurasundari ||
kAmEpsitakari kAmakOTinilayE SrIvidyESvari kAmajanaka sahOdari||AP||

SivakAMbOdhirAga santOShitE |
SiShTAcAra paripAlana niratE |
SivaSankari nataSankarIti vikhyAtE |
SiShya samEta mahAmuni vanditE|
sarvabhavarOgahara tAraka svarUpayutE sarvalOkaparipAlana niratE ||C||

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 06:31

Meanings
|| kAmAkShi pAhimAM ||

kAmAkShi; pAhimAM- protect me; mInAkShi;
kanjadaLAyatAkShi- You with eyes that ar lotus petals;
karuNAkaTAkShi- You with a compassionate glance. (kaTAkSha literally means kaDegaNNa nOTa/ OrenOTa, kaDaikkaN pArvai)

kAmAri manOhari- You Who captivate the mind of Siva, the foe of manmatha/cupid;
kaumAri; gauri;
kamalapada SObhitE- You Who are attractive with lotus-feet ; SrI tripurasundari;
kAma Ipsitakari- You Who grant all desired objects;
kAmakOTinilayE- You Who reside in the kAmakTi pITha; SrIvidyESvari;
kAmajanaka sahOdari- Sister of viShNu, the Father of manmatha.

SivakAMbOdhirAga santOShitE- You Who is appeased by the rAga SivakAMbOdhi;
SiShTAcAra paripAlana niratE- You Who is engrossed in protecting and nurturing good conduct and rifgteous ways/tradition; SivaSankari;
nataSankari iti vikhyAtE- You Who are famed as "One Who bestows prosperity/beneficience on those that salute you"

sarvabhavarOgahara tAraka svarUpayutE- You Whos is of the form that destroys the infliction that is life-death cycle(samsAra) and helps one cross over to reach the other shore; sarvalOkaparipAlana niratE- You Who are busy with nurturing and protecting the universe.

drshrikaanth · Post by **drshrikaanth** » 10 Jan 2006, 06:55

Note that the kRti has been rendered by Mysore G.N.Nagmani Srinath.

SivakAMbOdhi is a upAnga janya of harikAmbOdhi/harikEdAragauLa, the 28th mELa. The appandix of R.R.Keshavamurthy`s book lists the rAga under this mELa. But, going by the pathos and the general colouring of the rAga, I would place it under cArukESi/tarangiNi, the 26th mELa. Its scale is

SR2G3M1N2S* | S*NPMGRS ||

Another kRti, perhaps the only other one is "satatamu ninnE", AditALa by "Mysore vINe padmanAbharAyaru". This is another rAga that has been brought to light by oDeyar through his composition. Incidentally, padmanAbharAyaru was one of the gurus of Mysore vAsudEvAcAr and it could be that he handled the rAga first. But I am inclined to think that was not the case.

The rAga makes uses of pretty much plain swaras throughout. N, M and G are jIva and nyAsa swaras. P is also used as nyAsa.N and R can have a mild oscillation/kampana. The rAga evokes bhakti with a clear colouring of SOka. it conveys a sense of despair due to loss.
oDeyar has brought out the rAga bhAva beautifully in his kRti.

Raja Chandra · Post by **Raja Chandra** » 10 Jan 2006, 23:01

Raja chandra
when you say second-hand book shops, are you talking about Bangalore or Mysore.

DRS,

i am talking about bengalUru ! it is in Rajajinagar called sudha book shop.

Raja Chandra · Post by **Raja Chandra** » 10 Jan 2006, 23:15

Friends, sorry for the digress:

read http://www.deccanherald.com/deccanheral ... 200619.asp

cmlover · Post by **cmlover** » 11 Jan 2006, 02:31

DRS

Thanks for that clarification on Malavi. So the reason for not eleborating it is due to the danger of straying into the territory of other ragas!

I wish to make a couple of points if I may!

sarasIruhAsana sumanOllAsini
sarasijanAbha vakShasthalavAsini |

The first line occurs in RC's post. The second was added in your lyric as also sung by the artistes. They both depict Devi as being both Sarasvati as well as Lakshmi. No problem here by way of acceptance! My question is did JC mean it that way in a lyric which exclusively extols shankari i.e., pArvati?

If we leave out the second line that is aubsequently added, we can explain the first line differently without invoking brahma or sarasvati.
sarasIruhAsana = one who is seated on the lotus (there are several representaions of Devi seated on the lotus)
sumanOllAsini= sumana + ullAsini = beautiful (sumana) delighter (ullAsini)

The whole then would mean 'one who beautifully delights seated on the lotus'.

Even if we interpret sarasIruhAsana as brahma it would mean one who beautifully delights (or spur into action) brahma. However the second line can only mean LakShmI since she alone can reside on the chest of viShnu.

My incidental point is to indicate that sandhi rules preclude the interpretation of 'manO' as mind in the first line!

cmlover · Post by **cmlover** » 11 Jan 2006, 02:48

DRS
since dhaivatam is missing sivakambodhi can be from melas 26 or 28. Any particular reason you prefer 26?

cmlover · Post by **cmlover** » 12 Jan 2006, 07:12

>>nataSankari iti vikhyAtE- You Who are famed as "One Who bestows prosperity/beneficience on those that salute you";<<
Thanks! I was stumped here!

meena · Post by **meena** » 16 Jan 2006, 01:06

next AIR clip: Bhairavam Bhavaye-Bhairavam

deleted

cmlover · Post by **cmlover** » 16 Jan 2006, 11:27

Thanks meena!
I look forward to the lyric and discussion soon enough!
Perhaps an RTP of Bhairavam will be timely.
Badri/coolkarni/others... ready to oblige?

Raja Chandra · Post by **Raja Chandra** » 16 Jan 2006, 11:58

|| bhairavaM bhAvayEhaM ||

rAga: bhairavaM ; chaturashra tripuTa tALa

|| pallavi ||

|| bhairavaM bhAvayEhaM satataM ||
|| bhavabhaya haraM bhAsuraM bhoosura vinutaM ||

|| anupallavi ||

|| bhavAneepatiM bRuhattatvayutaM ||
|| bharadwAjapakShi mOkShakaraM ||

|| charaNa ||

|| aKaMDachaMdra maMDalAkAraM ||
|| aKaMDa yaj~JaroopadharaM ||
|| aruNAchalEshvaraM mahEshvaraM ||
|| arkapuShpa mAlAdharaM haraM ||
|| dakSha brahmamuKadhvaMsakaM dakShiNAmoortiM tArakaM ||
|| dharmarAja darpaharaM paraM dadheecha kaivalyadAtAraM || cha||

cmlover · Post by **cmlover** » 16 Jan 2006, 22:00

Thanks RC
No mudra! Are we sure this is JC's?

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 06:44

sAhitya of
|| bhairavam bhAvayEham ||

rAga: bhairava ; caturaSra tripuTa tALa

bhairavam bhAvayEham satatam |
bhavabhayaharam bhAsuram bhUsuravinutam ||P||

bhavAnIpatim bRhatvayutam |
bhuvanamitram bharadwAjapakShi mOkShakaram ||AP||

akhaNDa candramaNDalAkAram |
akhaNDa yaj~narUpadharam Sankaram |
aruNAcalESvaram mahESvaram |
arkapuShpamAlAdharam haram |
dakShabrahmamakhadhvamsakam dakShiNAmUrtim tArakam |
dharmarAjadarpaharam param dadhIci kaivalyadAtAram ||C||

rshankar · Post by **rshankar** » 17 Jan 2006, 07:14

DRS/RC/CML,
One of the observations I can't help making is: while the Maharaja seems to have treated the 3 shakthIs as interchangeable, the identities of the trinity (or atleast, shivA and vishNU) are kept separate. Is this a correct one?
Ravi

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 07:16

Part 1 of meanings and notes on
|| bhairavam bhAvayEham ||

bhairavam bhAvayEham satatam- I ever contemplate on bhairava (ISvara).
bhavabhayaharam- Him Whos removes all worldly fears;
bhAsuram- Him that is resplendent; bhUsuravinutam- Him worshipped by the brAhmaNa.

bhavAnIpatim- Husband of bhavAnI;
bRhatvayutam- Him with all the attributes of greatness, might, loftiness, greatnes etc;
bhuvanamitram- Friend of the world/mankind;
bharadwAjapakShi mOkShakaram- Him that granted liberation to the bharadvAja bird.
MD also refers to ISvara as "muni pakShi mRGa kITAdi muktiprada kIrtayE" in the bEgaDe kRti, tyAgarAjAya namastE. At the moment I am unable to recall the episode of the bharadvAja bird. If anyone can fill in the details, please do.

akhaNDa candramaNDalAkAram- Him in the form of the full moon(Complete with all the 16 kales. This represents completeness-pURNatva;
akhaNDa yaj~narUpadharam- Him in the form of the complete/unbroken/undisturbed sacrifice/yaj~na; Sankaram;
aruNAcalESvaram- The Lord of aruNAcalESvara, aNNAmalai; mahESvaram;
arkapuShpamAlAdharam- Him that is adorned by a garland of arka flowers(ekkada hUvu, erukkam pU); haram;
dakShabrahma makha dhvamsakam- The destroyer of the sacrifice/yAga of dakShaprajApati;
This refers to the well known episode of ISvara not being invited to the yAga by dakSha, dAkShAyaNi throwing herself into the sacrificial fire and Siva assuming the form of vIrabhadra and slaying dakSha.

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 07:32

Part 2 of meanings and notes on
|| bhairavam bhAvayEham ||

bhairavam bhAvayEham satatam- I ever contemplate on bhairava (ISvara).
bhavabhayaharam- Him Whos removes all worldly fears;
bhAsuram- Him that is resplendent; bhUsuravinutam- Him worshipped by the brAhmaNa.

bhavAnIpatim- Husband of bhavAnI;
bRhatvayutam- Him with all the attributes of greatness, might, loftiness, greatnes etc;
bhuvanamitram- Friend of the world/mankind;
bharadwAjapakShi mOkShakaram- Him that granted liberation to the bharadvAja bird.
MD also refers to ISvara as "muni pakShi mRGa kITAdi muktiprada kIrtayE" in the bEgaDe kRti, tyAgarAjAya namastE. At the moment I am unable to recall the episode of the

dakShiNAmUrtim; tArakam- Him that leads all and transports all across the ocean of samsAra.
dharmarAja darpaharam- Him that vanquished the arrogance of yama, the God of death; param;
dadhIci kaivalyadAtAram- Him that granted salvation to the sage dadhIci.

The story of sage dadhIci is succintly narrated in the kannaDa introduction prior to the kRti.
Sage dadhIci was a pious RShi known to have performed austere penances. Once, the demon vRtrAsura beseiged the dEvalOka and indra and his associate dEvas were losing ground in this fight. The dEvas immediately approach brahma for a way out of this tight spot. brahma in turn refers them to viShNu who advises them that vRtra can only be slayed by weapons made from the bones of an austere sage. He also suggests to them that sage dadhIci is just the person for this sacrifice and tells them to beg him to do this favour. The dEvas do approach dadhIci who willingly gives up his mortal coils saying the purpose of ones life is to sacrfice and make other happy and to serve a good cause. indra makes the vajrAyudha from the backbone of dadhIci and succesfully kills vRtra.
It is to be noted here that dadhIci makes this sacrifice to secure the throne of indra who had earlier attempted to kill him for selfish motives. dadhIci had agreed to teach the ashvinI twins brahmavidyA. indra, fearing that the imparting of this knowledge might prove to be a threat to his throne, beheads dadhIci as he had sworn to do. But th ashvinIkumAras are clever and have foresight. They had therefore beheaded dadhIci themselves and fixed a horse`s head in its stead. Hence when indra beheads dadhIci, they promptly replace it with the original head as they are experts in the medical sciences. what detachment and forgiveness on the part of dadhIci! A case of "Forgive them for they know not what they do"! as the Bible says

"innA seidArai uRuttal avarnANa
nannayam seiduviDal. " as tiruvaLLuvar said.

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 08:39

bhairava, as employed by tyAgarAja and also oDeyar is a upAnga sampUrNa-ShADava janya of sUryakAnta/chAyAvati, the 17th mELa. Its scale is

SR1G3M1PD2N3S* | S* D~PMGRS ||

It is a vIrarasapradhAna rAga. madhyama, as evident in this kRti, is the jIva and nyAsa swara. G and D are also prominent and are vADi-samvADi. The rAga has shades of sUryakAnta but very little of saurAShTra.

tyAgarAja's mariyAda kAdayya is in this rAga. Traditionally, bhairava is a bhAShAnga janya of tOyavEgavAhini, the 16th mELa, and has both N2 and N3 as well as D1 and D2.
Scale is

SRGMPDNS* | S*DPMMPMGRS ||

The version abounds in vISESha prayOgas. R is more prominent than in oDeyar`s version and is oscillated mildly giving it a saurAShTra touch.

MD has adhered to this version as in the mudduvenkaTamakhi gIte. His kRti kAlabhairavam is in this rAga. There is also a kRti of vIrabhadrayya patitapAvana in the traditional version(same as MDs). Patnam Subramanya Iyer has also composed "nannu brOva rAda" which expectedly is in the simplified version as used by tyAGarAja.

Can we have renderings of any of these kRtis? This is a rare rAga and a kRti or an elaboration will be a treat. Hope to hear the traditional version as used by MD.

Despite the absence oh his mudre, the style of the kRti and the weaving of words leaves little doubt as to the authorship. This is a oDeyar kRti only.

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 09:10

Here is a rendition of MD`s kAlabhairavam. Sadly though, but for the viSESha sancAras and the touch on R, the rendition does not have any bhAShAnga swaras at all. This is from the guruguha.org website and is not currently available. Thanks to kamakshi Sridhar for the audio.

http://rapidshare.de/files/11200521/kAl ... m.mp3.html

Is the vocalist S.Rajam?

drshrikaanth · Post by **drshrikaanth** » 17 Jan 2006, 09:15

DRS/RC/CML,
One of the observations I can't help making is: while the Maharaja seems to have treated the 3 shakthIs as interchangeable, the identities of the trinity (or atleast, shivA and vishNU) are kept separate. Is this a correct one?
Ravi

Ravi. You are right. This is very interesting. I cannot see an obvious reason or expalantion. Perhaps it is a reflection of oDeyar`s psyche- He might have been closer to his mother, seen her in various forms and took liberties(salige) with her but had a strict father who he saw as just that. As an exetension, he was closer to Mother and saw everyone/everything in her but not soe with ISvara or viShNu. This is Freudian analysis. Perhaps Raja Chandra can throw light on this.

kiransurya · Post by **kiransurya** » 17 Jan 2006, 14:08

MD used the same raaga in the Raagamalika Sri Vishwanatham.

harikesa · Post by **harikesa** » 17 Jan 2006, 17:06

DRS,The Patnam piece - Nannu Brovarada rama also does not have many distinct shades of Bhairavam.The concert of MLV which has the Hamsanandi RTP has an excellent Mariyadagadayya where I heard the vishesha prayoga of Bhairavam in the anupallavi.

knrh05 · Post by **knrh05** » 17 Jan 2006, 18:38

Kalabhairavam was sung by Trichur Ramachandran.

cmlover · Post by **cmlover** » 17 Jan 2006, 19:07

Thanks DRS for that scintillating discussion.

bharadwAjapakShi mOkShakaram

here is the anecdote from Siva PurANaM.
Sage Bharadvaja had seven children who were of bad habits. They stole the cow belonging to Sage Gargya, killed it and performed sraadha for their parents. Consequently they were born as birds. Since they had performed sraadha ceremony they were absolved by Siva and attained liberation by the grace of Siva. The place of liberation is known as 'bharadvaja thIrththaM' (?pakShi thIrththaM). Also see
http://www.templenet.com/Tamilnadu/s080.html