Chingleput Ranganathan, Nada Inbam.

rbharath · Post by **rbharath** » 01 Jul 2007, 14:49

Chingleput Ranganathan - V.V. Ravi - Shertalai Ananthakrishnan

Alathur Subbayyar Day.
Nada Inbam, Raga Sudha Hall.
30th June 2007. 6 pm

ikanyAla (varNam) - pUrnacandirkA - aTa tALam - PSI
srI mahA gaNapati - gauLa - misra cApu - MD (S)
nI pada pankajamula - bEgaDa - Adi - T
shankari shamkuru - sAvEri - Adi (tisra naDai) - SS (RNS)
enduNDi veDalitivO - darbAr - misra cApu - T (R)
mari mari ninnE - kAmbhOji - Adi - T (RNS)
tani Avarththanam
kalinarulaku mahimalu - kuntaLa varALi - dEsAdi - T (RNS)
sAntarAnandavabOdAtmakamanupamitam (slOkam) - kEdAragauLa, indrajit, sindhu bhairavi
chandrasEkarA - sindhu bhairavi - Adi
nI nama rUpamulaku - saurAshTram - Adi - T

Chingleput Sri Ranganathan gave a concert in memory of his guru, Alathur Subbayyar. He said the songs he presented were all favourites to Late SVK of Nada Inbam also, and hence he sang them all at the concert. All of them very classical and were presented in the most classical fashion.

The concert started with a leisurely rendition of the varNam, which i hadnt even heard off before. A real classical varNam that was portraying the rAga bhAvam in full. The gauLa kriti was rendered well with a quick round of svarams. Sri Ravi's replies were good. The bEgaDa kriti was rendered with all its caraNams and the ciTTai svaram and was beautiful.

The first AlApanai, sAvEri, was kept short and sweet. The kriti was rendered with a round of neraval and svarams at 'shyAmakrishNa sOdari shyAmaLE sAdOdari'. Sri Ravi also played a short AlApanai and played good for the neraval and svarams as well. The AlApanai of darbAr was moving and made on sit up. The grand kriti was rendered in a moving fashion. The accompanists did a very good job in accompanying this grand kriti

When Sri Ranganathan started the AlApanai of kAmbhOji, just after an hour into the concert, one did not expect to hear the main AlApanai that early. It was very elaborate and showed all the beauties of the rAgam. Sri Ravi played a nice AlApanai in return. The AlApanai had already set the mood for a big kriti. However, one did not expect something this grand to come and hit u. The 20 minute rendition of the kriti, that too after rendering the caraNam lines just once, was just majestic. I am short of words to write about the kAmbhOji and the kriti. The neraval and svarams which followed at 'karuNatO dhruvuni kEDuta nilcina' were fitting to the grandeur of the kriti. The accompanists were good in accompanying for this. The tani Sri Ananthakrishnan played was quite elaborate and nice. The whole kAmbhOji affair and the tani lasted for about an hour.

Right after the tani, all of us were hit by a surprise. An AlApanai of kuntaLa varALi for about 5+ minutes. The way Sri Ranganathan elaborated the rAgam, made me even expect a pallavi in the rAgam. Sri Ravi responded well. The viLamba kAla kriti in kuntaLAvarALi was rendered very nicely. The kriti alone took about 10 mintues. This was followed with some beautiful neraval and elaborate svarams at 'dAra sutulakai dhanamunakai'.

The rAgamAlikA slOkam was very nice. The sindhubhairavi kriti was well rendered as well.

The concert was one to cherish for a life time.

bharath

prashant · Post by **prashant** » 01 Jul 2007, 15:22

Wow - what a great and enriching experience this must have been. Wish I could have heard this concert.

Lakshman Sir - could you share a notation for this varNam if you have it?

Sathej · Post by **Sathej** » 01 Jul 2007, 15:43

What a miss for me !I wanted to be there for this but was not doing quite well!
Sathej

rajeshnat · Post by **rajeshnat** » 01 Jul 2007, 21:17

bharath,
Assuming sindhubhairavi is chandrasEkarA eesaa , the composer is Anai vaidyanAtha bhagavathar.

I have never heard a rAgam by name indrajit. Is that a hindustAni rAgam.Throw some more light there.

meena · Post by **meena** » 01 Jul 2007, 22:32

ikanElanE (varNa). ragA: pUrNacandrikA. aTa.

P: ikanElanE vAnitO celimi indirO cAlu pommanavE
A: ataDu nannElukO mOsamu jEsina Adi venkaTEshvaruDu gAdaTE
C: pagavAri bOdhana vinnavADE gadA

drshrikaanth · Post by **drshrikaanth** » 01 Jul 2007, 22:45

Pallavi
should be intirO in place of indirO

AP- ataDu does not fit the prAsa. The second letter should be "k".I do not know if akaDu/akaTi makes sense. Going by yati first letter should be a. so "ak---" something. Lakshman may supply the correct lyrics.

Lakshman · Post by **Lakshman** » 02 Jul 2007, 00:32

I think what Meena posted is from my kriti disc. The wording in the book is as posted except for intirO.
Could the anupallavi word be itaDu?

arunk · Post by **arunk** » 02 Jul 2007, 04:25

Lakshman wrote:Could the anupallavi word be itaDu?

no lakshman. As drs implies, the consonant of the second sylllable must match that of pallavi and so it has to be ka/ki/ku etc. Also as drs implies, since the second half of the line starts with A as in Adi, going by that (yati) the start should be "a". So combing these two, the first word should start with aka/aki/aku etc. "aka" would be most appropriate as it rhymes best with ika

Arun

mahakavi · Post by **mahakavi** » 02 Jul 2007, 06:03

arunk:
What about mOnai? The first letter can be the same in all lines. I know I am trying to apply Thamizh grammar to a Telugu song. But ff the pallavi starts with ika the anupallavi can start with itaDu (i for i match). Of course it has to make sense with respect to the existence of the word and the meaning.

PS: Of course, I am assuming the AP line to be a continuation of the P line.

arunk · Post by **arunk** » 02 Jul 2007, 07:43

In nearly all carnatic krithis from trinity to present (barring perhaps modern composers), the prAsa on the second syllable between pallavi and anupallavi i.e. edugai as it is callled in tamizh will be there.

You can take krithis of the trinity, purandaradasa, annamacharya, and also take tamizh composers like OVK, GB. PS - you will find it. You find it in varnams also (ninnukOri vs nannupAlimpa). It is there in works of Azhwars too (e.g. pallANDu vs mallANDu, aDiyOmOdum vs vaDivAi) although I dont know if it is there is every case (i would presume so). So it is sort of a cardinal rule.

In varnams like this one it would be very surprising for it to be absent..

mOnai without edugai I dont know how common atleast in cm contexts.

Arun

rbharath · Post by **rbharath** » 02 Jul 2007, 23:20

indrajit:

s g p n s/ s n p g s.

with sAdhAraNa gAndhAram and kaisiki nishAdham
janya of tODi

kmrasika · Post by **kmrasika** » 03 Jul 2007, 11:04

Does anyone have an audio of the varNam? Otherwise, if this concert is recorded and made commercially available, I'd like to know the title. The artist has certainly rendered a number of rarely heard pieces. Providence for those of you who attended.

gb · Post by gb » 04 Jul 2007, 03:50

The review is too mind blowing.. did anyone record the concert.. so can post it for all the CML.....

vijay · Post by **vijay** » 04 Jul 2007, 11:11

Mari Mari Ninne seems to be inching towards oblivion after the Alathoor Brothers. Can't remember ever hearing it in a concert. Who are the prominent sishyas of Chinglipet Ranganathan, BTW - I believe he has imparted pallavi training to many senior musicians...

annapoorne · Post by **annapoorne** » 04 Jul 2007, 11:40

Mrs Seetha Narayanan is a student of Sri Chingleput Ranganathan. I think even our fellow members Jaisri and Jairaj learn from him.

bhaktha · Post by **bhaktha** » 04 Jul 2007, 11:55

I guess the cine version of mari mari ninne (in sAramathi) is more famous

.
In fact, for a long time, my friend was under the impression that the original was also composed in sAramathi!
Btw, other Alathoor favs not heard often are: munnu rAvana, cerarAvadhe, etulabrOtuvo, ArAdayAMI...
-bhaktha

vijay · Post by **vijay** » 04 Jul 2007, 12:24

Yeah Bhaktha, the song has been corrupted beyond redemption! Perhaps artists stay away from the krithi for fear of the audience objecting to the krithi being sung in Kambhoji instead of Saramathi!

I'e heard Mununu Ravana (Sowmya, TMK), Cheraravademira (Balaji Shankar) and Etula Brotuvo (Suguna Purushottaman) in concerts although not very often. Aradhayami, OTOH, I have never heard.

ramanathan · Post by **ramanathan** » 04 Jul 2007, 14:13

rbharath wrote:sAntarAnandavabOdAtmakamanupamitam (slOkam) - kEdAragauLa, indrajit, sindhu bhairavi

"sAndrAnandAvabOdhAtmakam anupamitam kAlatEShAvadibhyAm..." from Melpattur Narayana Bhattatiri's 'Narayaneeyam'.

veenajj · Post by **veenajj** » 04 Jul 2007, 17:28

annapoorne wrote:I think even our fellow members Jaisri and Jairaj learn from him.

Yes, we have had the privilege of learning from this truly great teacher who believes only in giving. We missed out on attending this concert of his as we had been to Coimbatore for our own veena concert. It was Guru Purnima, and since it was a full 3 hour concert, we were happy to be able to fit in an RTP in Nattaikurinji as a tribute to our Gurus.

Jeyaraaj & Jaysri

rshankar · Post by **rshankar** » 04 Jul 2007, 19:50

Jeyaraaj and Jaysri,
Can you please explain the significance of nATTaikurininji to guru/guru pUrNimA?

veenajj · Post by **veenajj** » 04 Jul 2007, 21:55

"mAtA pitA guru deivam. anudinamu namaskAra" are the words of the pallavi that we played, composed in Nattaikurinji ragam.

Our teacher Vainika Vidwan Late Anantharama Iyer (Calcutta) always had his veena students come on Wednesdays and play BudhamAshrayAmi (again Nattaikurinji), as he believed that this particular day of the week was most auspicious for vidya arjana. Hence, for us there is no better way to pay our respects to our Gurus than by playing a pallavi (for Ranganathan Sir) in the raga Nattaikurinji (for Anantharaman Sir). The correlation is, you could say, kind of personal. We would not know if this can be extrapolated to a general link between Guru and Nattaikurinji.

Jeyaraaj & Jaysri

rshankar · Post by **rshankar** » 04 Jul 2007, 22:51

Thanks!

veenajj · Post by **veenajj** » 05 Jul 2007, 15:39

You're welcome!