International Foundation for Carnatic Music (IFCM) provides a goldern oppurtunity for students and musicians to learn the stunning Kamakshi Navavarnams of OVK from Chitravina Shri N Ravikiran
Oottukkadu Venkata Kavi is now considered to have been the first to compose Navavarana krtis (sometime in the early/mid 1700s). Addressed to the Goddess of Kanchi, there are 12 main songs including Vinayaka stuti, Dhyana stuti and Phala krti besides the 9 avarana krtis. These are superlative in terms of melodic, rhythmic and lyrical beauty as well as details of avarana worship.
Course details
Venue: Narada Gana Sabha, Chennai
On: 23 Sept, 2007
Timings: 9.30 AM - 1 PM (with a 15 mt break); 2-4 PM (Lunch 1-2 PM - please make your own arrangements for snacks, lunch etc)
Certificates: Certificates from IFCM will be given to all participants upon completion of the course.
Sponsored by: Shakti Extratainment Global Television and IFCM
Eligibility: This course is being given specially before Navaratri. This is open to anyone above 5 years who have learnt music for at least two years and have a minimum repertoire of 25 compositions.
The entire course will be telecast by Shakti Extratainment to benefit viewers and students in other parts of the world. Students can record the lessons strictly for their personal use.
Contact: 94440 64190 and 98407 65936
Certificate course on Oottukkadu Venkata Kavi
-
ifcm_rfi
- Posts: 35
- Joined: 20 May 2005, 05:20
The lyrics for the navavarnams are now available for free downloads in both Sanksrit and English. Please visit:
http://www.shaktiextratainment.com
This is thanks to the efforts of Dr P.P.Narayanaswami.
http://www.shaktiextratainment.com
This is thanks to the efforts of Dr P.P.Narayanaswami.
-
saveri
- Posts: 91
- Joined: 18 Feb 2007, 11:46
I attended the workshop this morning and a total of twelve songs were taught by CRK .
Starting with a Ganesha stuti, raga Shanmukhapriya ( very apt as the brother of Shanmukha !) in which Ganesha is described as the one who dispels obstacles, in the Srividya Upasana and also the Upasana bodhaka ( teacher ).
He is the deity who is the Sena Nayaka of the six Sena nayakas in the sixth triangle of the Sri Chakra. A very unique dscription linking Ganesha and Srividya.
There were krithis taught for each of the chakra in ragas like Desakshi (the kaisiki Nishada prayoga raga , variation of Bilahari), Nadanamakriya, Suddha Saveri,AnadhaBhairavi, Balahamsa,Hindolam,Arabhi, Punnagavarali, Madhyamavati and Manirangu.
The Manirangu one is the concluding piece , again a unique way to present the Devi worship as a means to attain the Lotus Feet of Lord Sri Krishna. The composers ishta deivam is Krishna and everything is unto Him. Also the somposers' birth place is said to be Mannargudi, where Lord Krishna is the presiding Deity and is the Ultimate depiction of the Devi being the Yogamaya of Sri Krishna. ( ref . the birth of the female child , before Krishna, out of the Yogamaya of Krishna).
This tattva is brought out beautifully in Srividya Rajagopalam ( Jaganamohanam) and Sri Rajagopalam ( Saveri) by M.Dikshitar and CRK made a reference of the Saveri Kriti.
The Krithis were weighty and had all the notes on SriVidya Upasana.
Talas, progressively in the 4th, 5th, 6th chakra krithis, become complex, with Khanda Triputa(2 kalai), Khanda Dhruvam and Sankirna Matyam. In the Sankirna Matyam , the tala changes from 2 kalais to 1 kalai intermittently and ends with the pallavi in 2 kalai.
All the krithis have many words and you have to do really an upasana to get them into your memory files and the talas add to the challenge. CRK said , one would become quite adept at tala variations, if one were to practice OVK's kritis strenuously.
Swaraakshara prayogas are beautiful in Suddha saveri and Madhyamavati pieces.
The use of madyamakaala is not restricted to just the end, but in between the pallavi or anupallavi lines, with one line in one kala and the other in normal kala.
The yati praasam in the Nadanamakriya anupallavi in madyamakala was highlighted by CRK and he described how aptly OVK has fitted the language and nadai to suit the tala.
CRK has passionately been working, on the subject of OVK and his contribution to music, for more than seven to eight years and has himself learnt around 400 odd compositions. According to him, the songs on Krishna 9popular hits) is a part of a long Operatic work by OVK, which starts from Devaki Vasudeva marriage and all of Krishna thereafter.
He said that in Thaye Yahoda there are as many as 12 charanams with 12 complaints from Gopis and in the end the song ends with Krishna answering to all the 12 complaints to Yashoda !!
Thanks to this effort, we see OVK in a new light, as that of a multi faceted composer, an Uttama Vaggeyakara, not limited to just a handful of songs that we popularly listen to.
Starting with a Ganesha stuti, raga Shanmukhapriya ( very apt as the brother of Shanmukha !) in which Ganesha is described as the one who dispels obstacles, in the Srividya Upasana and also the Upasana bodhaka ( teacher ).
He is the deity who is the Sena Nayaka of the six Sena nayakas in the sixth triangle of the Sri Chakra. A very unique dscription linking Ganesha and Srividya.
There were krithis taught for each of the chakra in ragas like Desakshi (the kaisiki Nishada prayoga raga , variation of Bilahari), Nadanamakriya, Suddha Saveri,AnadhaBhairavi, Balahamsa,Hindolam,Arabhi, Punnagavarali, Madhyamavati and Manirangu.
The Manirangu one is the concluding piece , again a unique way to present the Devi worship as a means to attain the Lotus Feet of Lord Sri Krishna. The composers ishta deivam is Krishna and everything is unto Him. Also the somposers' birth place is said to be Mannargudi, where Lord Krishna is the presiding Deity and is the Ultimate depiction of the Devi being the Yogamaya of Sri Krishna. ( ref . the birth of the female child , before Krishna, out of the Yogamaya of Krishna).
This tattva is brought out beautifully in Srividya Rajagopalam ( Jaganamohanam) and Sri Rajagopalam ( Saveri) by M.Dikshitar and CRK made a reference of the Saveri Kriti.
The Krithis were weighty and had all the notes on SriVidya Upasana.
Talas, progressively in the 4th, 5th, 6th chakra krithis, become complex, with Khanda Triputa(2 kalai), Khanda Dhruvam and Sankirna Matyam. In the Sankirna Matyam , the tala changes from 2 kalais to 1 kalai intermittently and ends with the pallavi in 2 kalai.
All the krithis have many words and you have to do really an upasana to get them into your memory files and the talas add to the challenge. CRK said , one would become quite adept at tala variations, if one were to practice OVK's kritis strenuously.
Swaraakshara prayogas are beautiful in Suddha saveri and Madhyamavati pieces.
The use of madyamakaala is not restricted to just the end, but in between the pallavi or anupallavi lines, with one line in one kala and the other in normal kala.
The yati praasam in the Nadanamakriya anupallavi in madyamakala was highlighted by CRK and he described how aptly OVK has fitted the language and nadai to suit the tala.
CRK has passionately been working, on the subject of OVK and his contribution to music, for more than seven to eight years and has himself learnt around 400 odd compositions. According to him, the songs on Krishna 9popular hits) is a part of a long Operatic work by OVK, which starts from Devaki Vasudeva marriage and all of Krishna thereafter.
He said that in Thaye Yahoda there are as many as 12 charanams with 12 complaints from Gopis and in the end the song ends with Krishna answering to all the 12 complaints to Yashoda !!
Thanks to this effort, we see OVK in a new light, as that of a multi faceted composer, an Uttama Vaggeyakara, not limited to just a handful of songs that we popularly listen to.
-
rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
The complaints are submitted in tODI (tAyE yaSOdA), the defence is in mOhanam (illai illai illai ammA) and the judgement is proclaimed in madhyamAvatI (pESAdE pOngaLaDI) - so these three songs are part of a set:saveri wrote:He said that in Thaye Yahoda there are as many as 12 charanams with 12 complaints from Gopis and in the end the song ends with Krishna answering to all the 12 complaints to Yashoda !!
See
Yashoda's Judgement - M.G. Vasudevan
Krishna's Reply to Yashoda - M.G. Vasudevan
The Courtroom Drama of TaayE YashOda - M.G. Vasudevan
at this link: http://www.karnatik.com/articles.shtml
Scroll down to the relevant articles, they make wonderful reading.
-
uday_shankar
- Posts: 1475
- Joined: 03 Feb 2010, 08:37
saveri, nice overview of today's workshop.
I too attended it. This is the second oothukadu workshop I'm attending, the other one being the saptaratnas a few years back, also by Chitravina Ravikiran.
Both experiences left me with the unquestionable feeling that I was an undeserving witness to the unfolding of one of the most exciting developments in Carnatic music in recent times i.e., the discovery of the "musical" genius of OVK more than 200 years after his passing. I deliberately insert quotes because "musical" is too limiting an adjective to describe the profound, multi-dimensional scholarship of this mahayogi.
It is obvious that this is an extremely important ongoing drama and we are only witnessing the opening act. From whatever little I've heard (admittedly only glimpses) and read, it doesn't seem to be an overstatement to say OVK appears to be the long hidden encyclopedia of Carnatic music.
As a first step, I most sincerely recommend to all rasikas Ravikiran's book "Ootukkadu Venkata Kavi - Life and Contributions" for a comprehensive overview of the composer and his works. Obviously, my recommendation as a layman does not carry any weight, but the book comes very highly recommended by no less than such legends as MBK, TNS, UKS and SRJ who have all written forewords.
I too attended it. This is the second oothukadu workshop I'm attending, the other one being the saptaratnas a few years back, also by Chitravina Ravikiran.
Both experiences left me with the unquestionable feeling that I was an undeserving witness to the unfolding of one of the most exciting developments in Carnatic music in recent times i.e., the discovery of the "musical" genius of OVK more than 200 years after his passing. I deliberately insert quotes because "musical" is too limiting an adjective to describe the profound, multi-dimensional scholarship of this mahayogi.
It is obvious that this is an extremely important ongoing drama and we are only witnessing the opening act. From whatever little I've heard (admittedly only glimpses) and read, it doesn't seem to be an overstatement to say OVK appears to be the long hidden encyclopedia of Carnatic music.
As a first step, I most sincerely recommend to all rasikas Ravikiran's book "Ootukkadu Venkata Kavi - Life and Contributions" for a comprehensive overview of the composer and his works. Obviously, my recommendation as a layman does not carry any weight, but the book comes very highly recommended by no less than such legends as MBK, TNS, UKS and SRJ who have all written forewords.
Last edited by Guest on 23 Sep 2007, 21:07, edited 1 time in total.
-
uday_shankar
- Posts: 1475
- Joined: 03 Feb 2010, 08:37
komalangi
I can answer your questions:
1. I have attended lots of short courses and workshops on different subjects. Without exception, ALL of them gave out certificates at the end of the course. For those who care, the certificate shows that the kritis were learned from a renowned guru under the auspecies of a bonafide institution.
2. As to who is "allowed" to sing OVK compositions, who's to "allow" whom ? We don't live in a fascist culture ! Anybody is free to sing anything.
I hope your questions are sincere. If not, I would recommend that you start singing OVK kritis (no need for certificate!) - the composer's sunny, cheerful optimistic spirit will wash away any malice and sneerning cynicsm
.
I can answer your questions:
1. I have attended lots of short courses and workshops on different subjects. Without exception, ALL of them gave out certificates at the end of the course. For those who care, the certificate shows that the kritis were learned from a renowned guru under the auspecies of a bonafide institution.
2. As to who is "allowed" to sing OVK compositions, who's to "allow" whom ? We don't live in a fascist culture ! Anybody is free to sing anything.
I hope your questions are sincere. If not, I would recommend that you start singing OVK kritis (no need for certificate!) - the composer's sunny, cheerful optimistic spirit will wash away any malice and sneerning cynicsm
.-
jananee
- Posts: 272
- Joined: 30 Jun 2007, 12:27
I dont think you would ever need a certificate to sing compositions of OVK or rather any composer for that matter. I wonder why that question at all...the value of the certificate i guess is only for proof authenticating the fact that you attended the course..not as a license for you to sing OVK kritis...
Last edited by jananee on 24 Sep 2007, 07:20, edited 1 time in total.