chittaswara - mahaganapathi -nata

Jyothsna_music · Post by **Jyothsna_music** » 06 May 2007, 14:13

I would like to have chittaswaram for Mahaganapathim manasa smarami.Dikshithar krithi

Jyothsna SaiRam

Lakshman · Post by **Lakshman** » 06 May 2007, 19:34

pA pa ma ga ma ri sa ri sa ni sa pa ma ga ma pA dha ni sa ri* ga* ma* ma*ri* sa* ri* sa* pa ma
sa* ni pa ma ga ma ni pa ma ri ga ma ri ri sA rI* sa* sA* ni pA ma gA ma *ni sa ri ga

kmrasika · Post by **kmrasika** » 07 May 2007, 14:08

The GNB school holds this kriti is composed in calanATa. They also render a different ciTTasvara.

Lakshman · Post by **Lakshman** » 07 May 2007, 22:28

If you have the GNB school version please post it. Thanks.

rbharath · Post by **rbharath** » 08 May 2007, 00:05

SSP lists svAminata paripAlaya and pavanAtmaja as kritis in calaAta with Aro/ava s r g m p d n s/s n p m m r s. And hence, one could expect mAhagaNapatim to have a dhaivatam. Sri MDR renderes the kriti with a good dose of dhaivatam

ramakriya · Post by **ramakriya** » 08 May 2007, 00:33

But for the record, SSP's calanATa is nothing but nATa. nATa is the 36th AsampURna mELa, and cala is the kaTapayAdi pratyaya. The alpa dhaivata makes it sampUrNa. Tillaisthanam versions of jagadAnandakAraka also have strong dhaivata prayogas.

SSP's calanATa is thus entirely different from calanATa of Edayya gati (which is a krama sampURna mELa) etc.

-Ramakriya

sramaswamy · Post by **sramaswamy** » 08 May 2007, 01:03

Lakshman wrote:pA pa ma ga ma ri sa ri sa ni sa pa ma ga ma pA dha ni sa ri* ga* ma* ma*ri* sa* ri* sa* pa ma
sa* ni pa ma ga ma ni pa ma ri ga ma ri ri sA rI* sa* sA* ni pA ma gA ma *ni sa ri ga

What is the source for this chittaswaram? Is it part of original kriti?

Lakshman · Post by **Lakshman** » 08 May 2007, 02:07

My source is Dikshita Kirtanamala by Kallidaikurichi Vinai A.Sundaram Iyer, volume vi, page 12.
He is considered an authority on Dikshitar's songs.

sramaswamy · Post by **sramaswamy** » 08 May 2007, 03:02

My apologies if I came across as questioning the authenticity. I do not possess that much knowledge. My query was merely to know whether it is part of the original kriti. I haven't heard the version from any artiste.

jayaram · Post by **jayaram** » 08 May 2007, 03:32

Here's a rendering of this kriti by MDR:
http://www.sendspace.com/file/o8hqv5

mohan · Post by **mohan** » 08 May 2007, 06:32

kmrasika wrote:The GNB school holds this kriti is composed in calanATa. They also render a different ciTTasvara.

I have heard Trichur Ramachandran and Sudha Ragunathan sing this in Nattai without any chitta swaram.

sindhu · Post by **sindhu** » 08 May 2007, 11:31

Taking into consideration the samasti charaNam, chittaswaram might have been added. Of course, many of such Deekshidhar kritis even with samasti charanams such Sri Gurugaha tArayAshumAm are not having chitta swarams.

kmrasika · Post by **kmrasika** » 08 May 2007, 12:04

mohan wrote:I have heard Trichur Ramachandran and Sudha Ragunathan sing this in Nattai without any chitta swaram.

You can hear Smts. rAdhA & jayalakshmi render the alternate version from here: http://www.musicindiaonline.com/music/c ... artist.35/

Ashwin · Post by **Ashwin** » 08 May 2007, 23:38

The pallavi sAhitya is mahAgaNapatim manasA smarAmi vasiSTha vAmadEvAdi vandita; rendering the second half in madhyamakAla creates an odd number of Avartanams. Has anyone heard renditions a) fully in the original kAlam, b) omitting "vasiSTha...", or c) with additional sAhitya following "...vandita" in madhyamakAla?

Ashwin

drshrikaanth · Post by **drshrikaanth** » 09 May 2007, 00:11

Ashwin wrote:Has anyone heard renditions a) fully in the original kAlam,

Yes. A ew. I think Mani Krishnaswamy has sung like this, This may be available on sangeethapriya.

b) omitting "vasiSTha...", or c) with additional sAhitya following "...vandita" in madhyamakAla?

No. I havent

ksrimech · Post by **ksrimech** » 09 May 2007, 00:48

SSI also sung it the both kalams. 1st sangati in original kalam and the 2nd sangati (2 times) in the next faster kalam. He sang it in 1964 at MA with tAnam to start the concert. Not chitta svaras are rendered.

http://www.rogepost.com/n/8818699266

According to SSP, dhaivata prayOga occurs very sparsely in the songs svAminAta paripAlaya (once in pallavi and once in caraNa), pavanAtmajAgacca (once in pallavi and once in caraNa) and jagadAnanada (once in anupallavi). The author has defined it with a gamaka symbol (w) on it in both jagadAnandakAraka and pavantAmajA (caraNa). jagadAnandakArakA is in the anubhandam.

Have citta svaras for muttusvami dikSitar kritis be set by mordern era musicians? We know of some cittsvarAs for tyAgaraja kritis being set by others.

Ashwin · Post by **Ashwin** » 09 May 2007, 01:35

Thanks - I will look up the links on sangeethapriya and rogepost, but is mahAkAvyanATakAdi also sung in the original kAlam in these renditions? Only this could be consistent, since the lack of yati or prAsa linking mahAgaNapatim to vasiSThavAmadEva implies that a pAda has a length of two Avarttanams...please correct me if I am mistaken.

Ashwin

drshrikaanth · Post by **drshrikaanth** » 09 May 2007, 01:51

Krsimech
What you have posted is the same as what is available on Nada anubhooti except that your clip does not have the initial brief alApane of about a minute.

http://70.132.20.252:8080/musd/servlet/ ... track01.rm

A very ineteresting thing about this rendering is the complete absence of the RShabha note in the swaraprastAra. SSI has not only eschewed it but also sings the avarOhaNa as SNPMGS!!! Strange indeed.

drshrikaanth · Post by **drshrikaanth** » 09 May 2007, 01:58

Ashwin wrote:but is mahAkAvyanATakAdi also sung in the original kAlam in these renditions? Only this could be consistent,

Why should it be sung in samakAla? It does not have to be, regardless of how vaSiShTha--- is sung. (If I understand you correctly).

Your point about the lack of prAsa and yati is valid. The variations to rendering this song seem to be like this

1- singing to caturaSra Eka with "vaSiShTha---" in madhyama kAla sung once (this leads to 3 Avartas of caturaSra Eka)

2- Singing "vaSiShTha--" in samakAla and thus in caturaSara tripuTa.

3- Singing seconde line as "mahAgaNapatim" (samakAla) and "vaSiShTha ---" in madhyamakALa once, still to caturaSra tripuTa

4- Singing "vasiShTha--" twice in madhyamakAla, again to caturaSra tripuTa.

To me, taking note of yati and prAsa absence, (3) seems to be the best method to sing it.

ksrimech · Post by **ksrimech** » 09 May 2007, 01:59

Ashwin,

SSI renders mahAkAvyanATakAdi in madyamakAla and not in the original slower kAlam. I think all others render it that way. What you have asked about the pAda is an interesting question. Of course, the experts in samskrita (DRS, rAmakriya, CML) will have to comment on this.

Also, I feel that the original vaSiSTavAmadEvAdi should have been only in the slower kAlam. The madyamakAla in vaSiSTavAmdEvAdi might have been a later on addition. This is just a wild guess.

Ashwin · Post by **Ashwin** » 09 May 2007, 02:43

Re: yati and prAsa, I was just thinking that, since the requirement for yati (or prAsa) is only between pAdas (and not within two lines of a single pAda, for example), the absence of either in the pallavi suggests that a pAda is two Avarttanams (the full length of the pallavi). This establishes the pAda length for all other parts of the song as well, so if we are to separate the caraNam into pAdas as established by the structure of the pallavi, the first pAda would be "mahAdEvasutam... + mArakOTi". The first-letter coincidence (ma/mA) would then actually be unnecessary here (although there is no rule to say it shouldnt be there). The second pAda would be "mahAkAvyanATakAdi... + mUShika vAhana..." Again, the first-letter coincidence (ma/mU) is unnecessary. However, the second pAda has a length of only one Avarttanam rather than the required two - this is what led me to question whether even mahAkAvyanATakAdi should be rendered in samakAla.

By the above argument, DRS, I like your #3 suggestion as well, since it would pretty much establish the pAda length as one Avarttanam (mahA/mahA), and the problem I have with the caraNam (which would then consist of 3 pAdas) would be resolved.

Ashwin

ksrimech · Post by **ksrimech** » 09 May 2007, 07:37

drshrikaanth wrote:Krsimech
What you have posted is the same as what is available on Nada anubhooti except that your clip does not have the initial brief alApane of about a minute.

http://70.132.20.252:8080/musd/servlet/ ... track01.rm

A very ineteresting thing about this rendering is the complete absence of the RShabha note in the swaraprastAra. SSI has not only eschewed it but also sings the avarOhaNa as SNPMGS!!! Strange indeed.

DRS, I got a copy of this clip from my dear friend Badri Amudachary. I had no idea that nAdAanubhUti had it until you mentioned it.

pitAmahA has sung it as sgmpns-snpmgs, then isnt he singing svaraprastArA in gambhIranATTai?

To verify what he is defining what is singing is what he has defined as the arOhaNa/avarOhaNa for nAta rAga, I heard him sing rAgamAlika swaraprastArA for a rAgam tAnam pallavi he is singing s r g m p n s - s n p m g r s (i.e., with out dhaivatam and with gAndhara in avarOhaNa which is close enough to nAta).

As you say, very strange indeed.