Dr. Shrikaanth K Murthy

Carnatic composers (other than performing vidwans)
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abadri
Posts: 183
Joined: 08 Jun 2005, 00:04

Post by abadri »

A photo of the composer, Dr. Shrikaanth K Murthy

Image
Dear Folks,

I'm opening this thread for us to discuss our own DRS' compositions, with his permission and that of others.
This'll help us keep all the discussions related to DRS' works in one place instead of in multiple related threads.

Let's start off with his composition in the rAgA dES
(lyrics and meanings provided by DRS in the desh thread)

A kRti in Desh composed in April 1999
http://rapidshare.de/files/11824520/kam ... y.mp3.html

rAga- dES, AditALa, Own composition

kamalAmbikayA kaTAkShitOham |
kAmitadAyaka kalpalatikayA ||P||

kamanIya suguNavATikayA daSa- |
gamaka varNAbharaNa pETikayA ||
kamalajAnanda bOdhOtsukayA kAdi hAdi mantrAtmikayA SrI ||AP||

nakhOtpanna haridaSAvatarayA |
naya ghana dESI rAgAdarayA |
akhaNDa karuNArasa sAgarayA |
abhayavarapradakarayA varayA ||
makhESa SrIkAntAdivinutayA mAyAkalanA pArangatayA |
akhilAgama nigamOdghOShitayA AtmavidyA prakASitayA SrI ||C||


rAga- dES, AditALa

kamalAmbikayA kaTAkShitOham- I have been graced by the benevolent sideward glance(Look) of kamalAmbikA;
kAmitadAyaka kalpalatikayA- By Her Who is the wish-granting tree/creeper;

kamanIya suguNavATikayA-By Her Who is a garden of all qualities beautiful and graceful;
daSa gamaka varNa AbharaNa pETikayA- By Her Who is a jewelbox filled with the beautiful ornaments of the 10 gamakas and varNAlankAras of music.
kamalajAnanda bOdhOtsukayA-By her Who is keen on teaching brahmAnanda;
kAdi hAdi mantrAtmikayA-By Her Who is the soul/essence of the kAdi and hAdi mantra of SrIvidyA; SrI

nakhOtpanna hari daSAvatarayA- By Her from Whose fingernails arose the 10 avatAras of viShNu;
Recall karAnguli nakhOtpanna nArAyaNa daSAkRti from the sahasranAma
During the battle with bhaNDAsura, bhaNDa used the sarvAsurAstra which gace rise to rAvaNa, bali, hiraNyAkSha etc. dEvi in turn gave rise to matsyAdi 10 avatAras of viShNu to check these evil forces. There are also otherinterpretations.
We also have "karAnguli nakhOdaya viShNu daSAvatArE" in MD`s ghaNTA navAvaraNa kRti.


naya ghana dESI rAgAdarayA- Her Who respects/regards naya ghana and dESI rAgas alike. Note the rAgamudre here;

akhaNDa karuNArasa sAgarayA- By Her Who is an unending/unbroken ocean of compassion;
abhaya varaprada karayA-By Her Who frees one from fear and grants boons;
varayA- By Her that is best/eminent/lofty;
makhESa SrIkAntAdi vinutayA-By Her Who is eulogised by indra and SrIkAnta(ViShNu);
(indra is the Lord of sacrifices. He performed a 100 sacrifices and became Satamakha and makhapati)

mAyA kalanA pArangatayA-By her Who is beyond all illusion and illusory incitement/behaviour;
akhila Agama nigama udghOShitayA- By Her Who is praised full-throatedly by the vEdas and Agamas;
AtmavidyA prakASitayA- By Her Who is revealed by AtmavidyA/SrIvidyA;
She is called AtmavidyA in the sahasranAma; SrI

----

There was also another composition of his "bEkkasa" which was discussed in the thread on
Mysore Maharaja's kritis. srkris, can you please help retrieve the relevant material? Thanks in advance.

Raja Chandra
Posts: 362
Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

badri,

you can find the discussion on bekkasa beragAdenalla at Jayachamaraja Odeyar (Mysore Maharajah) - Part II; page:6


rAga-vamSavati, rUpaka tALa, composition in kannaDa;

bekkasa beragAdenalla |
pELalu bAy toDaritalla ||P||

cokka kauShikESa ninna |
sogayipa cariteyanAlisi ||AP||

akkasadindali lalanege | akShaya maDi ittu porede |
rakkasa vamSava tiNukisi | rAvaNana SiragaLa korede |
bokkasa nIDidare bharadi | poDavi bAnanaLedu merede |
kakkulAti nIgalu SrIkAnta nInu gIte orede ||C||

Raja Chandra
Posts: 362
Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

And the meaning for bekkasa beragAde. I have given a translation in tamizh as well as it is difficult to capture the spirit in English at times.

bekkasa beragu Adenalla- Am I astonished! (miga viyandEn anRO)
pELalu bAyi toDaritalla- I became tongue-tied when I try to explain! (sollap pOnAl vAy aDaindadanRO)

cokka kauShikESa - O handsome Lord of kauShika (ezhilmigu kauShikattu IsanE)
(kauShika is a holy village in Hassan Dt. The Lord lakShmIkESva is the patron deity of the sankEti community. It is also a pancalinga sthala. The name comes from the belief that sage viSvAmitra performed penance here)

ninna sogayipa cariteyanu Alisi- On hearing of your wondrous deeds/nature/disposition (undan sogusAna sarittirattaik kETTu)- I am astonished and tongue-tied!

akkasadindali- With boundless compassion; lalanege- to the beautiful lady;
akShaya maDi ittu porede- You gave limitless/unending cloth/sarry and protected her.
(kaninvuDan nI kArigaikku aLavilAt tugilai aLittuk kAppATRinAy.)
Actually akkasa represents a mixture of compassion, urgency and anxiety (padaTRattuDan kUDiya kanivu)

rakkasa vamSava tiNukisi- You made the race of rAkShasa/demons to suffer;
(arakkar kulattai vATTi vadaittu)
rAvaNana SiragaLa korede- You cut off the 10 head of rAvaNa (irAvaNanin sirangaLait taRittAy)

bokkasa nIDidare- When you were offered the treasury
bharadi poDavi bAnanu aLedu merede- With great pomp and ado you measured the earth and the sky;
(karuvUlattaik kATTinAlO nI adai viTTu ivvulagaiyum vAnaiyumE aLandAy!)
This refers to the bali episode.

kakkulAti nIgalu SrIkAnta nInu gIte orede- O SrIkAnta! To remove of indecision/confusion, you instructed/taught the bhagavadgIta.
(SrIkAntanE! manakkalavarattai nIkka nIyO gItaiyai uraittAy)

viyakkattagu nin magimaiyai ensolvadu!

kiransurya
Posts: 781
Joined: 13 Dec 2005, 15:58

Post by kiransurya »

DRS
Can you give us the link for krithi in Vamsavathi? Its a very rare raagam (to the best of my knowldge, only dikshitar composed in it) so would be good to listen your composition in it
Thank you

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

kiransurya, here is the vamSavati kRti

http://rapidshare.de/files/11982347/bek ... h.mp3.html

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

I begin by invoking gaNapati for his benign grace and blessings on this auspicious friday.
A piLLAri/lakShya gIte in praise of the remover of all obstacles .

rAga malahari, caturaSra rUpaka tALa, language-sankEti

S R | S, R S || D#, S R S, || P, | D P M G || R G | R R S, ||
pari---pAli sa--dA sumukha pA-DaraSiSu paDe-li-raka

P, | D D S* R*|| R*S*| D, S*, || D S*| D D P, | M P| M G R S ||
kal-piya-ra gu--ru-vu nI-nE kalu---vara vi---dyu nI---nE- (1)

pATu toDagara suvELa | phalipiya pArvatibALa ||2||

SrIkAnta vinuta pAdA | SritajanapAlana mOdA ||3||


Meaning
O sumukha! Ever protect this child who sings by being with him/her.

You are the guru that teaches. you are the knowledge that is imparted/learnt.

O son of pArvati! Bring to fruition this good moment in time when lessons are being commenced.

You Whose feet are worshipped by SrIkANta! You Who revels in protecting your devotees, kindly protect this child.

I will post the recording tomorrow.

abadri
Posts: 183
Joined: 08 Jun 2005, 00:04

Post by abadri »

DRS,

Thanks, awaiting the recording.

>> kalpiyara guruvu nInE kaluvara vidyu nInE <<
Beautiful! Simple but profound!!

Is there a rule you follow regarding weaving the rAgamudrA into
your compositions? The other two kritis had them, but this gItam
doesn't.

Also when possible, could you give us any background stories relating
to your compositions? It will give us "behind the stage" look at a
composer at work - the closest that ordinary folks like me can get
to creativity :)

Thanks
-Badri

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

well done folks!

I take great pleasure in welcoming Dr Srikaant K Murthy who has agreed to share his valuable musical compositions with all of the Rasikas at this Forum. His immense knowledge and scholarship are already on display at the HH JC Wodeyar thread of which he is the sole architect.

He has graciously contributed most of the lyrics with musical renderings by noted performers as also complete interpretaions with puranic and philosophical citations and above all the musical idioms in context. The discussions have been embellished by our indefatigable donor coolkarni as also by many historical insights into the life and reign of the Royal Composer Wodeyar by Raja Chandra. Also special thanks to our web master Ramakrishnan for recreating the complete thread after a disasterous computer debacle. Pl visit the thread and enjoy the hitherto undiscovered splendour of CM in rare ragas and compositions by a King that flourished in Karnataka during the 20th century.

Dr Murthy is a great scholar and linguist (his seminal contributions to establishing Sanketi as a living independant language is well-known)and also a musician and musicologist. It is our privilege that he has agreed to share his treasures at this forum and I wish to thank him on all your behalf. Pl participate actively in these discussions and your contributions are equally vital for expanding our horizons in CM and also to show that we appreciate, honour and respect our vaggeyakarakas both old and new alike.

Dear DRS
(Pl provide a brief biographical sketch as well a portrait!)

A warm welcome to you on behalf of all of us! And let me also invoke as mangaLacaraNaM

shrIkaanto mAtulO yasya jananI sarva ma^NgaLA
janakO shankarO dEvaH tam vandE kunjaraananaM ||

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

BravO DRS!
Already lambOdara has been invoked by the indubAlA!

Nice to have the musical notations! Await your rendering too! Also as Badri suggests give us the date as well as the circumstance when this was composed. Again give us if possible word for word meaning by which we may be able to gain a smattering of Sanketi!

kiransurya
Posts: 781
Joined: 13 Dec 2005, 15:58

Post by kiransurya »

DRS, CMLOVER, ABadri, Coolkarni and Raja
Iam so lucky to bump into this forum. You insights into music is amazing BTW, what are the roots of sanketi? Is it close to kannada? Would like to know more about it. DRS, any compositions in sankskrit?. Awaiting your audio on above krithi, because I dont know the correct pronounciations in this language.
many thanks

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

DRS

a related query. Are you the first to compose CM in sanketi? I have never heard any kriti in that language at concerts.

Could I take the liberty and suggest to emend (the praasa) the last line as:
'paTu SrIkAnta vinuta ' (worshipped by the clever (scholar) SrikAnta! (if the language permits such usage...).

Is there a particular reason GanESa is called sumukha?

kiransurya
Posts: 781
Joined: 13 Dec 2005, 15:58

Post by kiransurya »

As far as I Know, Ganesha is called so because of what his face represents and symbolises. Big ears are for imbibing all the knowledge, Tusks are for assimilating it, so and so forth. Thats what i have been told.
would be good to see how other explain it

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »


cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Superb DRS!

You are not only a composer and performer but a good teacher too!

This lyric is great for teaching the first lesson in Music to novice students!

Too bad 'abhinava purandara' title is already taken ;-)

Thank you!

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

DRS

Your shruti alignment is super perfect! This is no idle accolade! I just analyzed using my Fourier Software.

aadhara Shadjam 127 Hz (you are slighly below 1 kaTTai)
shuddha riShabham 137 Hz (theoretically expected (equal temper scale) 135 Hz)
shuddha madhyamam 170 Hz (theoretically expected 170 Hz)
pancamam 194 Hz (theoretically expected 190 Hz)
shuddha daivatam 202 Hz (theoretically expected 202 Hz)
tAra Shadjam 259 Hz (theoretically expected 254 Hz)

A mazing!

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

DRS, CMLOVER, ABadri, Coolkarni and Raja
Iam so lucky to bump into this forum. You insights into music is amazing BTW, what are the roots of sanketi? Is it close to kannada? Would like to know more about it. DRS, any compositions in sankskrit?. Awaiting your audio on above krithi, because I dont know the correct pronounciations in this language.
many thanks
kiransurya
Iam giving the link to my article in wikepdia on sankEti. Hope that gives you a good introduction to the sankEti language.

http://en.wikipedia.org/wiki/Sanketi_language

As for pronunciation guide, i am cutting and pasting from a previous post of mine in the oDeyar thread.

For the sake of clarity and to avoid any confusion, I am posting the code (script) I have used to write sAhitya phonetically.

a A i I u U R E ai O au an aH |

k kh g gh ~g |

c ch j jh ~n |

T Th D Dh N |

t th d dh n |

p ph b bh m |

y r l v/w S Sh s h L kSha ||


When the letters "~g" & "~n" occur as the first consonant of a sajAtIya ottakShara/dvitva i.e paring with other consonants from heir own group of 5 ,such as a~gga or ka~nja, I have replaced it with a bindu "n" thus writing them as anga & kanja. But when they occur as a second consonant or in combination with consonants from other groups, I have retained them as they are as otherwise they wil not be pronounced correctly e.g Aj~nA, J~nAna, vA~gmaya. However in case of N and M, I have stuck to these letters as they are quite distinct in pronunciation and also occur independently in their own right. V and W are used interchangeably.

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

DRS,

Thanks, awaiting the recording.

>> kalpiyara guruvu nInE kaluvara vidyu nInE <<
Beautiful! Simple but profound!!

Is there a rule you follow regarding weaving the rAgamudrA into
your compositions? The other two kritis had them, but this gItam
doesn'. ....
-Badri
I usually incorporate the rAgamudre into my compositions. If I compose more than one kRti in a rAga, I weave it in one of them. But there are times when the rAgamudre is left out simply because I had not thought of it at the time of composing or I think it superfluous. In this case, the simple lyric in an Arambha pATa (beginner`s lesson) precluded the use of rAgamudre. Weaving the rAgamudre can be very exacting at times and acts as a hurdle to an otherwise smoth flow in ones thoughts. But obsessive that I am, I often get caught in it.

I will try and mention of the background if there are any, if I can remember and if they can be mentioned. ;)

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

DRS

a related query. Are you the first to compose CM in sanketi? I have never heard any kriti in that language at concerts.

Could I take the liberty and suggest to emend (the praasa) the last line as:
'paTu SrIkAnta vinuta ' (worshipped by the clever (scholar) SrikAnta! (if the language permits such usage...).

Is there a particular reason GanESa is called sumukha?
Yes. By God`s grace, I am the first one to compose metred poetry and classical(Carnatic) compositions of various genres in sankEti (at least AFAIK). Of course there are sampradAya/traditional songs in the language.

I will try and give word for word meanings.

As for me being indubALa, actually I am padminIkRShNamUrtisuta and indusahOdara. I know why you mistook me for indubAla. It was my sister who registered with the forum and my pother posted under her ID.

Raja Chandra
Posts: 362
Joined: 16 Oct 2005, 12:39

Post by Raja Chandra »

DRS,

Hope this small note on the origin of Sankethi?s will meet your approval !

Once upon a time, hundreds & hundreds of years ago, there lived a group of ?Brahmans? in a town called Sankota / Sangottai in Tamilnadu. It seems that these Brahman families were a part of the largest sect called Iyers. However, they were highly knowledgeable people, proficient in Sanskrit, Vedas, Upanishads and Shankaracharya?s philosophy of Advaita.

Once in a ?Sabha?(Congregation of Brahmans), one Acharya made a mistake while reciting a Shloka.One lady boldly pointed out the mistake. But this challenge was not taken lightly. She was punished for being arrogant. The punishment was that she has to serve food to the Brahmans clad in a saree coated with chalkstone. Every body was well aware of the fact that because of the special coating the saree would be very slippery and will not hold. The lady, angered by the humiliation meted out to her, took up the challenged and conceived a new way of tying the saree which would be held in place with a knot. This saree is traditionally called as ?Gandi Saree? (Gandi probably standing for ?Gant? meaning ?Knot?)

However, she came out of the episode with flying colours & teaching all the Brahmans a lesson. She also cursed them by saying that the land, which they presently occupied, will not bear any crop. This had serious repercussions on the community itself.

She also announced her intention of leasing the land. She had a good number of people following her. Thus the community was divided into two. One group settled in the region called ?Koushik? and the other is "Bettadapura".

The Koushikas concentrated mainly on farming & vedic studies. The Bettadapuras, on the other hand, aspired and acquired highly respectable positions in the Kings' courts, Government offices and such other professions. Both were highly revered by everybody. Slowly their expanse widened to other places like Ramanathapura, Agrahara, Rudrapatra, Mosale, Saligrama(K.R.Nagar Taluq), Thansoge, Mattur, Hosahalli, Lingadhalli etc. Most of these places are situated is the Hassan & Shimoga Dist. Even today we find many names which identify the family person with the place of their origin ? where many generations were born like:

R.K.Srikantan ? Rudrapatra Krishnashastri Srikantan

H.S.Ramesh - Hamoge Shrikantan Ramesh.

S.S.Seetharama Rao- Saligrama Subbaraya Seetharama Rao.

As evident the birthplace comes first, then comes the father?s name and then the name of the person himself.

The societal norms were patriarchal. Girls did not get much in terms of formal education. They got married at a very early age between the age of 12-18, in fact sometimes it was child marriage. They had very limited needs and wants, in fact it is said that in the early days they lived in abject poverty.

Any communication between the two sub sects was discouraged.

The journey from those days to today has been long, hard and tedious. But today, we are spread not only throughout India but in other countries too like USA, Australia, Singapore, Canada to name a few. Even today we are considered as a highly intellectual community. In terms of vocation we see families devoted to farming on one hand and on the other hand people holding high positions in Government organizations. There is no dearth of Entrepreneurs too who have world-class manufacturing units. Music was also viewed favourably. It is matter of pride that some of the greatest musicians of Carnatic classical, both vocal & instrumental, belong to this community.

from: http://www.sankethi.com/history.htm

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

I have some thoughts on why gaNESa is called sumukha. Of course you know that sumukha occurs in gaNESa/gaNapati sahasranAMa. su as a prefix means "good, auspicious, supreme, excellent" etc. It can also mean "to urge, incite, impel, distil, possess supremacy". mukha, apart from the common eaning of face, also means beginning, vanguard. And in a particular setting, it also means "original cause/source". Thence sumukha can be taken to mean "good/auspicious beginning", "excellent vanguard" and "the original cause/source of inspiration".
And among all Gods, I think gaNapa has the cutest face. Not necessarily handsome, but certainly cute and heartwarming.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Thanks RC for that fascinating history! Is the Sankota referred to the same shenkOTTai in TN which was erstwhile part of the Travancore Kingdom?

DRS

The dictionary (Apte) gives 'sumukha' also the meaning of garuDa as well as Siva! But in the naamaavaLi it is always associated with ganESa. Vishnu was never addressed by that name!

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

Raja Chandra
Thanks for posting the article. Here is the link to my article on the sankEti people in wikipedia.

http://en.wikipedia.org/wiki/Sanketi_people

As for the curse by nAcAramma, the version you have posted does not tell the full story. nAcaramma and her husband and their only son lived in dire poverty. They wsihed that their son at least would see better days. To this purpose, they decide to prepare the extract of the jYotiShmati plant(gangonge eNNe in kannaDa) in accordance with the rules prescribed in the SAstras. The SAstras say that after consuming the jYotiShmati taila one in the family will die, another will go mad and the third will become extraordinarily brilliant/intelligent. The couple took the taila thinking the son will become intelligent, SrI nAcAramma would die and her husband would become mad. But God willed otherwise. the son died, the husband did become mad but the sAdhvi nAcAramma became extraordinarily brilliant, much to the jealousy and envy of others, particularly the menfolk.

During the son`s final rites, she had to serve ghee(abhigAra) wearing a new saree as is the custom. These menfolk decided to teach her a lesson and gave her a new saree smeared with finely powdered limestone. Realizing the trick, nAcAramma quickly tied the saree and held it in place with 2 knots (ganDI cIra/daNDI cIra[i/]) and cursed the people and their village.

The culprits, realizing their mistake, begged her to forgive them. As all great people, she advised them to leave the village within a stipulated time and also promised them to herself lead them to greener pastures. This place near sengOTTai is called SApattUr and to this day, only weeds and shrubs grow here although the surrounding areas are lush green. this led to the exodus to karNATaka about a thousand years ago.
Until a few decades ago, sankEti women used to tie their saree as gaNDIcira. There are hardly any who tie their saree in this manner today.

I have also composed a folk style song in sankEti narrating the story which I will be posting later.

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

The folk song is here

Please wait until I post the full version. I have missed a couple of caraNas in the one I posted earlier.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Lyrics please (and meaning too! if you please!)

Sounds like cakravaahaM! am I right?

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

vakuLAbharaNa sung in madhyama Sruti. There are some anusvaras suggesting N3. Will need a little while to post lyrics and meaning.

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

CML
You are a true scientist.
kaNNAl pArppadum. poy kAdAl kETpadum poy. tIra vicArippadE mey.

I composed the malahari gIte yesterday.

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

I was wondering which composition to post on sarasvatI when this topic of sankEtis` migration and nAcAramma was brought up by Raja Chandra`s post. nAcAramma is revered as sarasvatI herself (svayamEva SAradAm). It is by her grace that the community has achieved the name and fame that it has.

Lyrics for the vakuLAbharaNa(madhyama Sruti) folk song

chovi kuDaka ellAru- collaNi vicAru | chovi kuDaka ellAru ||P||

ivhaDe pEre nAcAru- pEre nAcAru | ivaLukilla sATi dAru |
ivhaDe pEre nAcAru | ivaLukilla sATi dAru ||AP||

aNDoru nA jyOtiShmati- jyOtiShmati | aNNara elaya uNDA |
uNDAna j~nAnu kaNDa Urjanu matsarugoNDA ||1||

puNDakA baLApu savari- baLApu savari | pudu cIra uDaka aNDA |
gaNDicIra uDuti tusumu kadalAdhuDi avhe niNDA ||2||

keNDamAhi hemba krOdhu- hemba krOdhu | keraLi SApa nuDiyaNDA |
daNDamiTTavALa oppi tA~n colnA vaLi oNDa ||3||

naNDA kOLangO vArta- kOLangO vArta | nallI kAvEri daNDa |
taNDu SEri puDicAka talapaNu Siri nADoNDa ||4||

aNDesamE parapaTTA- parapaTTA | avhaLE muntIlu niNDA |
khaNDa kaShTu vandAkalu kadalavoTTitilla hiNDa ||5||

daNDi nIru payirikkara- payirikkara | tANatta avhA kaNDA |
naNDAna nela idaNTe- nambi ange nela niNDA ||6||

iNDesamu sankEtiha- sankEtiha | inda nelattuL rANDA |
koNDa kAryamellATeyu kODilAde paNNaNDA ||7||

vaNDi Siri kuDa kESavu- kuDa kESavu | vara kauShikattuL niNDA~n |
a'NDesamU nAcArammane engaLa kAvaNDA ||8||

naNDA SrIkAntu colna- SrikAntu colna | nATi dhATi pATaNDA |
naNDA Sruti SEri pADinAka sATi migiluNDA ||9||

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

Correct version of the above song. Sorry for any inconvenience caused.

http://rapidshare.de/files/12057204/nAc ... h.wma.html

drshrikaanth
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Post by drshrikaanth »

Word to word meaning. (I have also given tamizh equivalents in places)
chovi- ear/sevi; kuDaka- give; ellAru- all/ellArum; collaNi- I will tell/narrate/colvEn; vicAru- tale/viShayam;

ivhaDe- Her/ ivaLudaiya; pEre-name; nAcAru-nacAramma; ivaLukilla- She does not have; sATi- comparison/equal; dAru- yArum.

aNDoru- OOnce upon a time/that day/ anRoru; nA- day; jyOtiShmati aNNara elaya leaf named jyOtiShmati/ jyOtiShmati ennum ilaiyai; uNDA- She consumed;
uNDAna j~nAnu- The knowledge/intelligence that came into being; kaNDa Urjanu- people who saw; matsaru goNDA- Became jealous.

puNDakA- mischef makers; baLApu- limestone/paLappam; savari- having smeared; pudu-new; cIra- saree; uDaka- You wear!(viyangOL vinai); aNDA they said;
gaNDicIra- gthe style of tying the saree with 2 knots; uDuti- having worn; tusumu- even a little bit; kadalAdhuDi- such a way as not to let it slip/ vazhukkAdapaDi; avhe-she; niNDA- stood/ninRAL.

keNDamAhi- becoming burning coals(redhot with rage); hemba-great/lot/niramba;
krOdhu- wrath; keraLi- arising/kiLarndu; SApa nuDi- curse; aNDA- uttered;
daNDamiTTavALa- those who prosrated/fell at her fert; oppi- accepting/forgiving; tA~n colnA - She said; vaLi-way/escape route; oNDa- one.

naNDA- nicely/carefully/nanRAga; kOLangO-listen/kELungaL; vArta- word; nallI- good/nice; kAvEri daNDa- bank of kAvEri;
taNDu- group; SEri- coming together; puDicAka- if we catch; talapaNu- will reach; Siri nADoNDa- a fertile/good/righteous land.

aNDesamE- that day itself; parapaTTA- they departed/ set out; avhaLE-she herself; muntIlu- at the front; niNDA-stood;
khaNDa- a lot; kaShTu- difficulty; vandAkalu- despite coming; kadalavoTTitilla- did not allow to disperse; hiNDa- the group.

daNDi-ample/ a lot; nIru- water; payirikkara- where there is greenery/fertility;
tANatta- place; avhA- they; kaNDA- came across/saw;
naNDAna nela- nice place/residence(naRAna nilai); idaNTe- this only; nambi- believing; ange- there; nela niNDA- they settled.

iNDesamu- even to day; sankEtiha- sankEtis; inda nelattuL- in this land; rANDA- are present;
koNDa- undertaken; kAryamellATeyu- all tasks; kODilAde- flawlessly/ without arrogance/ unassumingly; paNNaNDA- they do.

vaNDi Siri- cartload of prosperity; kuDa- to give; kESavu- Lord lakShmIkESava of kauSika; vara kauShikattuL- in the hallowed kauShika kShEtra; niNDA~n- stood/took residence;
a'NDesamU- at all times/forever; nAcArammane- nAcArama herself; engaLa kAvaNDA- protects us.

naNDA- nicely; SrIkAntu colna- said/sung by SrikAnta; nATi dhATi- folk tune; pATaNDA- song isn`t it?;
naNDA- niceley; Sruti SEri- aligning with Sruti; pADinAka- if sung; sATi migiluNDA- Is there anything to match or better it? /oppuyarvu uNDO?.

drshrikaanth
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Post by drshrikaanth »

Meaning in summary.
Lend me your ears. Ye all! I shall tell you a tale.

Her name is nAcAru. And she has no match;

Once upon a time, she consumed those leaves that go by the name of jyOtiShmati. Consequently, divine knowledge and intelligence became manifest in her. And her fellowmen became jealous of this.

Some mischief-makers smeared limestone powder onto a saree and told her to wear the new saree. Shhe tied it in the gaNDicIra style witout letting it slip and stood untarnished.

Becoming red-hot with rage, she cursed these people. However when they prostrated themselves upon her feet, she forgave them and told them a way out of the curse.

She said-"Listen carefully. If we band ourselves together as a group and stick to the banks of the good river kAvEri, we will by and by reach a prosperous land".

All of them set out the same day. And nAcAru herself stood in front and led them. Not once did she let them waver or scatter despite many odds.

By and by they set eyes on the wet, fertile and prosperous land. Firmly believing this to be the appropriate residence, they settled down there.

To this day you will find sanketis living in this land. And they are renowned for doing all their undertakings flawlessly and unassumingly.

Lord lakShmIkESava resides in the hallowed kShEtra of kauSika to bestow catloads of wealth and peosperity. And forever nAcAramma, hallowed be her name, protects us benevolently.

Is this not afolk tune nicely sung by SrIkAnta. If sung well, aligning with Sruti, does it have any match?

cmlover
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Post by cmlover »

naNDA Sruti SEri pADinAka sATi migiluNDu! (I hope I am right!)
Indeed! What a delightful folk tune! Took me to the days of 'ElElO IlasA' songs at TN!

I bet if Aruna Sairam were to see this and hear your singing she will adapt it with zest in her concerts! I fervently hope!

( By the by I fervently hope that you have no reservations about folks singing your compositions freely! Copyright laws do require a disclaimer from you)

Thank you so much for the word by word exposition! I have started getting a feel for the sankEti language....

Badri

can we have a lively piece in vakuLAbharaNaM (E rAmuni ?). This meLa was given life by Thyagaraja. I wonder if there is an RTP (only coolkarni will know ;-).

Does the name nacAramma have a meaning? Does not look like a Tamil name...

drshrikaanth
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Post by drshrikaanth »

naNDA Sruti SEri pADinAka sATi migiluNDu! (I hope I am right!)

( By the by I fervently hope that you have no reservations about folks singing your compositions freely! Copyright laws do require a disclaimer from you)......
.....
Does the name nacAramma have a meaning? Does not look like a Tamil name...
If u wanted to say there isnt a match then it should be "migililla". I do not have any reservations whatsoever about people rendering these compositions of mine. Songs are meant to be sung and knowledge is meant to be shared.

nAcAramma means lakShmi. nAcciyAr+amma makes the meaning clear in tamizh. There is also a variation of this name- nAnjiyAramma/nengAramma in sankEti.

cmlover
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Post by cmlover »

Got it! Thanks for the disclaimer!

cmlover
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Post by cmlover »

visit
http://www.garrysun.com/jyotishmati.html
if anyone needs a dose of jyOtiShmati. Some of these ayurvedic drugs can have unpredictable reactions. Be warned!

drshrikaanth
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Post by drshrikaanth »

-------Dear DRS
(Pl provide a brief biographical sketch as well a portrait!)------- ||
I hail from KoNanUr in Hassan dt, Karnataka. My parents are Padmini and Krishnamurthy. My mother tongue is sankEti. My wife Sahana and I are currently living in Maidstone, UK. I am a psychiatrist.

Karnatik music is my passion. I sing. My mother is my guru, not just for music but for the way I live. I have composed in all genres of compositions in Karnatik music. I have composed in Sanketi, Kannada, Sanskrit and Tamil. I love reading books in various languages. I am well versed with Sanketi, Kannada, Tamil, Hindi and English and have a working knowledge of Telugu, Malayalam and Sanskrit. I firmly believe that it is music that has taught me these languages.

I am also keen on Dravidian linguistics and have been toying with the idea (for years now!) of writing a book on the Sanketi language. I have written some poetry in Sanketi- namely a brief treatise (I am not sure it deserves this high-sounding name) on Prosody in music and "Ambika antAdi", both in kandapadya metre. This apart I have written a few stray poems in Kannada and Sanketi including EkAkSharis.


How do I post photos/images saved on my computer?

drshrikaanth
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Post by drshrikaanth »

Next a svarajati(or a jatisvara if you prefer) in rItigauLa.

http://rapidshare.de/files/12109743/rIt ... h.wma.html

cmlover
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Post by cmlover »

Thanks DRS

These information will be useful for folks who choose to sing your compositions so that a proper acknowledgement is made.

Pl u/l a jpg file in rapidshare and give us the link. I am sure Chembai will be able to incorporate it at the beginning of this thread.

Pl post the kritis in all the different languages so that there is a variety. The language oriented can be discussed more deeply by those who are well-versed in that language. But the music being common for all it will be nice if you provide notations and audio (wherever possible) so that singers will be able to render them (knowing the meaning). The information on the ragas that you provide are indeed invaluable as they are culled from several manuscripts! Since my area of expertise is medical science as well as vedanta my input will be more on the contents than the music itself. As Badri suggested pl share the circumstance when you composed a piece (if you can remember) since creativity though spontaneous is triggered by events in one's life. By the by what made you compose that lilting 'nAcAramma' folk song which indeed summarizes the history of SankEti (tribe ?). Reminds me of the Exodus sparked by Moses!

We all appreciate your efforts in the middle of a hectic schedule but be assured that your contribution to CM will be appreciated internationally.

cmlover
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Post by cmlover »

Just enjoying your melodious rItigowlai. Pl post the text!

drshrikaanth
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Post by drshrikaanth »

A photograph of myself. srkris can you please upload the photograph directly here so that people do not have to take the trouble to download it. Thanks

http://rapidshare.de/files/12122797/Dr. ... y.jpg.html

I have only started yet. Please be patient and I will post compositions in various languages. I have planned to first post compositions in a concert pattern. Also, am trying to keep to gaNapati, saraswati, guru etc in order. After this initial presentaion, I will add other compositions one by one.

CML
your and others input by way of commentaries, interpreatations and thoughts are welcome. In fact I would prefer that to my simply posting it all myself. Please feel free to express yourselves. That will also help me feel the pulse and adjust accordingly.

Indeed the migration of our forefathers under nAcAramma`s guidance was an extraordinary journey made all the more remarkable by the circumstances, the difficult route and the uncertain times. In fact, in his book "Nacharamma- the story of her migration", my great grandfather(Sri. M.Keshaviah) remarks that the journey would have been manifold more difficult than the famous "Pilgrims progress" and the journey across the Atlantic. He also rightly points out that this is perhaps the only instance where a mass exodus took place under the guidance of a Lady.

I composed this song and set it in a folk lilt as I was narrating a tale. A tale is best told as a folk song. Also, presenting the story in a song makes it concise, precise and also easy to grasp. It will also hopefully be carried from generation to generation keeping the memory of this sAdhvI bright and clear.

drshrikaanth
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Post by drshrikaanth »

svarajatirAga- rItigauLa, rUpaka tALa

S*, S* N D M || GMP M;GR, ||
S, N# S G R || G~, M G M, N N, ||P||

1. S,*R* S* N D M, P M G R || S, N# S G R G~, G M N N ||

2. S* N, D M G D M, G R S || N# P#, N# S G R G~, M N N ||

3. S,* S, *R* S* N D M M || N~, N#,S* N D M G G ||
M, M, P M G R S N# || S, S, G R G M N N ||

4. M, M N D M P M G R || G~, M G R S N# S G G ||
M, M G R S G R G M || N~, G* R* S* N D M N N ||
S*; G* R* G* M*; G* R* S* || N; S* N D M; G R S ||
N# P# N# N# S, N# S G G M, || G M N N S*, G* R* S* N D N ||

cmlover
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Post by cmlover »

Thanks DRS! That picture is quite casual but that is the way you perhaps like it! Accordingly I am sure our discussions also will be free and frank! Since many of us are simple ingenuous Rasikas, let alone not being even musicians you will have to bear with our free expressions without any reservations.

I am very much impressed with the rItigowlai swarajathi. It flows so nicely and you have rendered it without a hitch (and of course your shruti is better than that of an electronic machine! I can vouch for that!). I am sure there are beginners among our readership who will greatly benefit from the text and your rendering. Incidentally your gamakam on the gandharam both in aro as well as avaro is picture perfect! Thank you very much!

I wonder whether you or RC can provide a historical timeline for the nAcAramma episode. Sanketis are now spread all over the world and they would indeed appreciate these pages from history.

I am still relishing the rItigowlai and may have some questions later! Cheers!

srkris
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Post by srkris »

Wow, so fast in a day?

I linked the image directly, as you asked.

drshrikaanth
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Post by drshrikaanth »


drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

CML
That is the only decent picture I had to hand. I take more photos and hence often get missed out in the snaps myself. No snap of me in the traditional pance/vEShTi. But that is my daily apparel when at home!
nAcAramma`s episode approximately took place about a 1000yrs ago, give or take a couple of centuries. Exact historical details are sadly not known but the memory of the event is held by people who live in discontiguous areas- geographically, socially and culturally.

drshrikaanth
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Post by drshrikaanth »

srkris
would it not be more accessible if the snap was placed at the beginning of the thread?

drshrikaanth
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Post by drshrikaanth »

Meaning of the varNa sAhitya (sparse though it is).

pahalU rAvU- day and night; undE- your; vaLi- way; kAvANindE- was waiting;
sihin~ kahin~- sweet ad bitter; ellA- all; marandE- I forgot;
SrIkAntu; unduLLE kalandE- I became one with you;

O SrIkAnta; Day and night I waited for your arrival. I forgot what is sweet and what is bitter and became one with and inseparable from you.

sanihu- nearby; iridIya- May You be present; sadA- ever; ende- me

May You ever be present near me!

drshrikaanth
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Post by drshrikaanth »

swaras for varNa
rAga- ranjani; Adi tALa

pahalU rAvU undE |
vaLi kAvANindE ||P||
sihi~n kahi~n ellA marandE |
SrIkAntu unduLLE kalandE ||AP||

ciTTe swara
S, R G | S, S N# | D# S R- S | R G M D- |

S* N D- N | D M -GM- | D S*- M D- | G M- R G ||

S R G M | D S* R* G*- | S* R* G* S* | R* ,-M D |

N M D ,- | S R G S | R ,- R* S* | N D M G ||


sanihamiridIya sadA endE ||C||

ettugaDe swaras
1) M ;, | D , M , | G, S , | R , G , | S ;, | N , D , | S ; R | ; G M D ||

2) M ,- D M | G S R G- | M ,- D M | N D M D- |

M ,- D S* | R* S* N D | M ,- M* G* | S* N N D ||


3) S* N D- N | D M- G M- | N D M- D | M G- S R- |

S N#- D# S- | R S- G R- | M G- D M- | N D- S* R* ||

G* M* G*- S* | N D- N D | M- D S* R*- | S*- D* S*- M |

D S*- G M | D S*- R G | M D S*- S | R G M D ||


4) R* ; , | ;- S* N- | N D D M- | M G G S- |

R ; , | ; G S | N# D# S R | G M D S* ||

R* R* S*- S* | ,- S* N D- | N N D- D | ,- D M G- |

S R G- S | ,- S N# D#- | M# D# S R | G M D S ||

R* , R*- R* | G* S* N D- | S* ,- S*- S* | N D M D- |

M , M- M | D M G S- | R , R- R | G M D S ||

R* G* M* G* | S* , N- D | S* N D M | , D- R* S* |

, N D M- | G S ,- S | R G- M D | ,- S* R* G* ||

abadri
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Post by abadri »

Wow.. I've been away for a weekend and now have a lot of catch-up reading to do here!
Thread's progressed at a prolific rate :)

CMLsir, wonder if it's too late to be posting any Vakulabharanam tracks ?!
Anyways, here goes...

First E rAmuni (rendered by Somu)
[rapidshare link deleted]

a BMK rendition of Vakulabharanam
[rapidshare link deleted]

MMD with a Vedanayakam Pillai composition
[rapidshare link deleted]

A couple of these were posted on the Odeyar thread when discussing the Maharaja's
Vakulabharanam composition.

cmlover
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Post by cmlover »

Badri

Thanks Never too late. The 'nATTu paadal' is indeed highlighted by listening to a classical song. Especially BMK's rendering shows off the raga element very nicely which DRS has exploited very deftly to produce an adbhuta rasam. I have to congratulate you DRS for bringing graamIya bhaava by deftly using this ragam.

If the incident occurred about 1000 years ago which is when MalayaaLam separated from Tamil; then it would appear that the sankEti (which in sanskrit means 'allusion') was perhaps a language developed by the emigrants to communicate among themselfs and to keep their identity in the new land!

cmlover
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Post by cmlover »

WOW DRS! Lovely varnam in Ranjani.

The swara flow is so sweet as also the theme (Romantic). The ciTTa as well as ettugada are just delightful!

I would like you to clarify the avarOhaNa (which of course is given differently by different sources). Sanjay posts in Sangeetham
S' N3 D2 M2 G2 S R2 G2 S. Prof SRJ gives plain S' N D M G S (both panjama and rishabha varjyam in avarohana).
Point is 'S R S' will be illegal! Please clarify...

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