Jayachamaraja Odeyar (Mysore Maharajah) - Part I

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:38

kaapi.
though RK Narayans subject is closed , a few words about his interview will be appropriate.
RKN just comes out as a pompous old man , showing off that he knew Doreswami Iyengar well and closely.

As some one
who gets irked by the inclusion of a youngster,
who does not want to pluck strings in any order,since all that he wanted was only sound,
who could never get a grip over tala, something which frightened him,
who attributes a motive to chowdiah , when he is not around to respond..
who feels it inferior for a vilonist to accompany and be a sideman,
who says many people dont know how to play veena
who felt Dor Iyengar made Veena sound like a TNR's nagaswaram,

Boy this is enough to switch me off.This man was typically trying to show off , so i would not take his remarks seriously.

He is not good even in his own field of speciality.Just look at the way he talks about English and its teaching.

Quote:
English literature must not be taught in English. It must be taught in an
Indian language to make an impact. But our teachers don't know this.
(Nor, for that matter, do they know much English.)

No wonder , this overrated Indian Author ultimately found the meaning Of Life and Death(by his admission) only in the conversations he had with his wifes spirit through a medium, and not in all the undercurrent of the great tradition of Literary writings ,of which he was a part..
Nevertheless, a spoke is a spoke.
Until proved otherwise , let us get on , as before.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:38

Hear Hear coolkarni

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:38

cookarni
Lets get on with the next song shall we?

srkris · Post by **srkris** » 27 Nov 2005, 00:40

Hear Hear coolkarni

Wow, but he has his valid reasons. If what he says is true, I would maybe form a similar opinion. That's OK though... we'll leave that there and move forward...

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:41

srkris
I was not sure who you are talking about as having valid reasons. All I said was bravo coolkarni(bhesh/bjalE).

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:41

DRS

karthik kris and srkris are not the same persons..

karthik kris.... harikesa.com ... bangalore
srkris...chembai.com...administrator here ..chennai

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:42

thanks DRS & CML, for your strong rejoinder! i could no dare say it so emphatically ! But the truth of the matter is RKN despite being a old Mysorean never got Royal Call or honour, which even someone like T.S.Sathyan enjoyed !! May be a case od sour grapes !! Please read an account of TSS, where RKN figures too !!

http://www.frontlineonnet.com/fl1926/st ... 106600.htm

srkris · Post by **srkris** » 27 Nov 2005, 00:42

That's OK with me if Kartik_kris is called the admin

cmlover · Post by **cmlover** » 27 Nov 2005, 00:43

When coolkarni becomes CML it is small wonder Kartik-krish becomes srkris

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:43

Let me dwell a bit more on MV for the benefit of readers who are not very familiar with his privileged upbringing.

His father was from chevar in tamil Nadu. When he moved to Mysore he got the royal patronage from KRW III. Young Vasu was lucky to get blessings from Mummudi during his frequent visit to palace with his father.
Later when he wanted pursue his music lessons from Patnam Subramanya Iyer at Tiruvayar, he was helped both in kind and cash by Maharaja Chamaraja Wodeyar. After his studies, he returned to Mysore. He gave his maiden concert in 1908. He was encouraged to compose by a Ursu gentlemen Gopala raja Urs and his first composition was "ChiMtayehaM JAnaki kAnthaM". When Maharaja JCRW wanted to learn Carnatic music, he composed six jati swaras to enable HH to practice it on piano !!
MV had the rare privilege of serving as asthan vidwan under three Kings CRW, KRW IV & JCRW. He also had the privilege of seeing KRW III and his great great grand son SDNRW in his lfe time. Five generations of Wodeyars!!! phew !
MV is credited with composing around 160 KRuti ( only one in kannada).First Volume of 71 kRuti was published in 1929 by the grace of KRW IV. That is to say in a span of 20 years he composed a little over three compositions per year ! His next volume of 70 compositions was printed in 1956 due to the gurudakshina given by none other than JCRW !!
Again a little over 2 per year. It means it diminished over the years. How do you expect MV( assuming !) to suddenly compose around 94 kRuti's (HH's Kruti's) in just a little over one and half year ( from 17aug 1945 to 1947). It was simply beyond him at his old age ( 80 years). The pace set by HH was amazing and probabaly the world of carnatic music has never seem anything like it before for sheer pace. Hope i have buried the ghost logically too !!

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:43

Now coolkarni
You mut post the next one. Im raring to go

meena · Post by **meena** » 27 Nov 2005, 00:44

kulkarniji

thanku for the u//l. BUT if i remember, what happened to "Taking off from the thread on Wodeyars Compositions,"

(sorry DRS, no offense meant)

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:44

meena.
sorry i forgot.
(you see i am presently distracted .. I have been recording -to mp3-some very rare MDr's and Mali/PMI's-unbelievable music ) on a 24 x 7 basis.

Srkris
Do you mind moving the tracks on Hindolavasantha to a separate thread under raga section.

meena · Post by **meena** » 27 Nov 2005, 00:44

Kulkarniji

did i read 'recording rare mdr kritis', in that case ur excused, hee hee,

srkris · Post by **srkris** » 27 Nov 2005, 00:47

Sorry for the digression, but I thought I'll have to respond to a few queries:

Can you revert to the previous format of many pages. It takes ages to get down to the bottom of the page. Also the thought of the length of this page as we continue this thread is scary. I tried doing it myself but it appears the controls are with you alone.

Done. Reduced from display of 100 posts per page to 50 posts per page

please stop filling a chatterbox like me with stars while a real scholar like DRS is not yet listed as a VIP! It is embarassing

The stars/levels dont have anything to do with scholarship. They only represent how actively a person participates in discussions. And they are automatic, I dont do anything personally to increase the stars or anything...

Ramakrishnan, you may want to move this to a separate discussion under the Raga thread!

I saw that many of those posts cover multiple subjects, so the continuity would be lost if they are split.

Do you mind moving the tracks on Hindolavasantha to a separate thread under raga section.

Done

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:48

srkris.
what you have DONE is to CONTINUE this thread in a new thread called hindolavasantha under ragas.
that is not what i had requested.

I HAD PUT UP A FEW HINDOLAVASANTHA KRITIS AFTER THE WODEYARS KRITI IN THE SAME RAGA.

ONLY THOSE POSTS NEED TO BE SHIFTED.

THE REST OF THE CONTINUING DISCUSSION ON THE WODEYARS KRITI SHOULD BE HERE ONLY, IN THIS THREAD.

srkris · Post by **srkris** » 27 Nov 2005, 00:48

Oops! Sorry...

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:48

srkris (Got it right this time )
Please post oDeyar`s hindOLaavsanta kRti and my explantions back here. The continuity is lost now. Coolkarni`s posts with the rest of the hindOLavasanta tracks can stay there or evn come back here. Really this thread should be in one piece.
Meena
I did not get why you were sorry. Were you referring to the othere threads taking off from here not continuing and me not contributing? Sorry I cannot do full justice to othere threads when I am dealing with this thread. It takes a lot of time and I also have other very important things to do which I have been neglecting for a while

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:49

The Kriti

http://rapidshare.de/files/4180894/Hind ... m.mp3.html

The Lyrics

||rAjarAjESvarIm||

rAga-hindOLa vasanta ; miSra jhampe tALa

rAjarAjESvarIm ASrayEham
sujanamanOratha pUraNakarIm SrIvidyAdhISvarIm ||P||

gajamukha ShaNmukha paritOShaNakarIm SrIkarIm |
EjadanEka jagadISvarIm kAmavairi mOdanakarIm
SivAm ardhanArISvarIm ||AP||

surAsurAdi bhAvanAtItAm mahitAm
surESapAlanaratAm nigamAntargatAm
nIrajAsanAdi vinutAm karuNAnvitAm
nirvikalpa savikalpa samAdhisthAm varahindOLavasanta rAgAnvitAm ||C||

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:49

The meaning:

rAga-hindOLa vasanta ; miSra jhampe tALa

rAjarAjESvarIm ASrayEham- I seek refuge in rAjarAjESvari.
sujanamanOratha pUraNakarIm- Her that fulfils the desires of the virtuous; SrIvidyAdhISvarIm- The presiding deity of SrIvidyA.

gajamukha ShaNmukha paritOShaNakarIm- Her that gladdens gaNapati and kArtikEya; SrIkarIm - Her that does all good
EjadanEka jagadISvarIm - The Queen of aeveral living worlds(Ejat means living);kAmavairi mOdanakarIm- Her That pleases the foe of madana/cupid i.e Siva.
SivAm- Wife of Siva; ardhanArISvarIm-Her That is half woman and half man(Or the wife of ardhnArISvara)

surAsurAdi bhAvanAtItAm- Her That is beyond the thoughts/feelings of the Gods and the demons; mahitAm- The praised One
surESapAlanaratAm- Her that is engaged in protecting the Kings among Gods(indra/viShNu); nigamAntargatAm- Her That resides in the vEdas/explanations of vEdas/doctrines.
nIrajAsanAdi vinutAm- Her worshipped by brahma/lakShmi et al(Nirajasana is brahma as One seated on the lotus. nIrajasanA is lakShmI); karuNAnvitAm -Compassionate One
nirvikalpa savikalpa samAdhisthAm- Her in all forms(Both allowing of and not allowing of variations) of samAdhi/meditation; varahindOLavasanta rAgAnvitAm- Her with the rAga hindOLavasanta.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:49

Enough of gossip. Back to work
This kRti is gain rendered by R.K.Srikantan and R.S.Ramakant.

This kRti is in rAga hindOLavasanta. The version used by oDeyar is drastically different from the traditional one. The original is a janya of naThabhairavi, 20th mELa but oDeyar`s version is a janya of kharaharapriya, the 22nd mELa. The difference then is that caturaSra dhaivata is used here instead of Suddha dhaivata. I wonder if this is an inadvertent error, not so much on the part of oDeyar but perhaps by someone who wrote it or interpreted it that way. There does not seem to be any textual basis for this version AFAIK. It is not listed in the appendix of R.R.Keshavamurthy`s book. Apart from that, the slight difference in the scale itself is not irreconcilable.
Scale

SG2M1PD2N2DS* | S*NDMGR2GS ||

The original version as used by MD, tyAgarAja, rAmaswAmi dIkShitar etc is
SG2GM1PD1S** | *SN2DPDNDMGS ||
R is used in some sancAras as a viSESha pryOga- SGRGM_, GRMG, GRGM_GS. The phrases S_P_P_, P_S*_ an S_S_* bring out the character of this rAga and are used tellingly by MD. The ArOhaNa (ignoring D2) of the 2 versions are the same. In the original versin R is used in ArOhaNa prayOgas while oDeyar uses it in avarOhaNa prayOgas.

This kRti here has a profusion of sancAras such as "S*NNDD_", "NDDMM_". "PDNDS*" and "GR_GS_" are used repeatedly to bring out the bhAva of this rAga. But the use of D2 gives a hAsya rasa and a lighter vein to the rAga. D1 would have been more suitable to bring out the bhaktibhAva of the kRti effectively. Somehow the use of D2 makes it seem as if oDeyar is jokingly saying "I surrender to Thee rAjarAjESvari". Perhaps my ears are biased.

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:50

DRS, as you said better to get on with job.

Thanks for rAga-hindOLa vasanta ; miSra jhampe tALa . This was missing in my forum listing.

This again shows HH only wanted his music to see the light of the day due to sheer merit of the compositions. Otherwise even after 60 years one would not be groping in the dark about the actual numbers. for the record it was mainly due to the efforts of ariyakudi ramanuja iyengar HH's work was known to the carnatic music world in the early years as he sang two of his compositions at Madras for the first time.

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 00:50

what happenned ! I thought coolkarni had already posted
|| suj~JAnadAyineeM || rAga: shuddhasALavi ; AditALa.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:50

The kRti is rendered by M.S.Sheela

sAhitya
|| suj~nAnadAyinIm ||

rAga: SuddhasALavi ; AditALa.

suj~nAna dAyinIm vamdE |
sadAnAda vinOdinIm ||P||

sujana pAlinIm sumatIm sundarIm |
sujanakAmadhEnu svarUpiNIm sumitrAm sAvitrIm ||AP||

anantAnantakOTi paSujana gaNayuta brahmANDa nAyikAm |
sanakAdi mahAmuni pUjita bRhadAnanda nAyikAm ||C1||

ariSTApaharaNa kAryaniratAm paSupatipriya nAyikAm |
samasta (aSESha) SAstra pratipAdita prakRtyAtmikAm bRhannAyikAm ||C2||

amaragaNavandita padAm ajAmEkAmiti suprasiddhAm |
vimalAtmikAm SrI vidyAm AdyAm vijayaSuddha sALavIpriyAm ||C3||

aSESha given within brackets in C2 is pAThAntara. I feel this suits betters owing to consonance. Also nAyakIm is pAThAntara for nAyikAm throughout.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:50

meanings

rAga: SuddhasALavi ; AditALa.

suj~nAna dAyinIm vamdE- I salute the Giver of appropriate/good/- _auspicious knowledge.
sadAnAda vinOdinIm- Her That is ever dallying in bliss.

sujana pAlinIm-Her that protects the righteous people;
sujanakAmadhEnu svarUpiNIm- Her That is the wish-granting cow-kAmadhEnu for the righteous; sumitrAm- Her That is a good friend; sAvitrIm- saraswati/gAyatri/radiant.

anantAnantakOTi paSujana gaNayuta brahmANDa nAyikAm-Her that is the reigning queen of infinite universe(s) containing animals, men etc.
sanakAdi mahAmuni pUjita bRhadAnanda nAyikAm- The mistress of infinite bliss That is worshipped by the great sages such as sanaka.

ariSTApaharaNa kAryaniratAm- Her engaged in removing enemies/misfortune; paSupatipriya nAyikAm- The beloved consort of Siva, the Lord of all living.
samasta (aSESha) SAstra pratipAdita prakRtyAtmikAm- Her in the form of prakRti((nature that is the origin of everything) expounded/glorified by all SAstras(doctrines/studies);bRhannAyikAm - Her with a colossal form.

amaragaNavandita padAm-Her with feet worshipped by the hordes of dEvas; ajAmEkAmiti suprasiddhAm- Her eulogised/famous as "one without birth(parabrahma )", "The Only One".
vimalAtmikAm- Her with a pure and unsullied soul; SrI vidyAm; AdyAm- The primordial One(foremost); vijayaSuddha sALavIpriyAm-Her That loves Suddha sALavi.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:51

rAga Suddha sALavi is oDeyar`s find. It is him that has given a form to this beautiful rAga in karNATaka sangIta.It is a janya of naThabhairavi, the 20th mELa. (there is no dhaivata and hence it falls under the 20th mELa)

SG2M1PN2S* | S*NPMR2S ||

Note that the scale itself allows sages such as "GMR_S" which is found aplenty in the kRti. G with a kampana is a very prominent note in the rAga and is the jIvaswara. "NSG~" is an oft-repeated phrase. N with a kampana echoes the G and is another important note. M comes next in importance. R as a steady note allows a resting place in the avarOhaNa. Note that G2-N2 ar vAdi-samvAdi and hence kampana/oscillation in one is echoed in the other as well.
This fabulous and enchanting kRti is a shining example of oDeyar`s kRti with swara-sAhitya passages. The rAga is very beautiful. It has bhakti and a touch of SRngAra and dainya. The latter 2 do not get too strong as there is no D2 or D1 respectively.
I loved the dhAtu for "bRhadAnanda nAyakIm" where Ananda is stretched as if to convey ecstasy.
The phrase "G~MR_S" suggest kAnaDa. This rAga is very close to sughrAi/sughrAi kAnaDA of hindUstAni music and also to suhA/suhAkAnaDA.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:51

Te rAga is closer to sughrAi kAnaDA in scale and the uttarAnga. But in sughrAi, pancama is a nyAsa note and is quite prominent in renderings while SuddhasALavi gives prominence to gandhAra. In this respect, it is similar to suhA. "NSG~" is very typical of SuddhasALavi and suhA kAnaDA.
Listen to this fantastic rendition of a khyAl in suhA by Kishori Amonkar

http://www.musicindiaonline.com/p/x/n4O ... vwrOupt7D/

As is wont with hindUstAni rAgas, shades of N3 do creep into some versions of sughrAi/suhA.

This is a rendition of sughrAi kAnaDA by Mallikarjun Mansur. note the prominence of p as a resting note and shades of N3 as well.

http://www.musicindiaonline.com/p/x/g4f ... vwrOupt7D/

Also listen to "bOl rE pappIharA" in Vani jayram`s melodious voice from the film Guddi. (Note the N3)

http://www.musicindiaonline.com/p/x/W4m ... vwrOupt7D/

Lakshman
What are the other compositions in suddhasALavi?

Coolkarni
Could you post (here. Not a separate thread please) renditions of sughrAi and suhA kanaDA?

Lakshman · Post by **Lakshman** » 27 Nov 2005, 00:51

The only other listing I have in this rAgA is:

Tillana (dhim tadhim ta)--C/Triputa--Mysore Vasudevachar

cmlover · Post by **cmlover** » 27 Nov 2005, 00:52

DRS

What a delightful raga! Why don't they sing such masterpieces? Thanks for for bringing them to daylight. Hats off!

Is it possible to post the swaras sheela is singing? It will be useful for new young learners to learn this song and render it during the ensuing Navaratri season!

cmlover · Post by **cmlover** » 27 Nov 2005, 00:54

DRS

What a delightful raga! Why don't they sing such masterpieces? Thanks for for bringing them to daylight. Hats off!

Is it possible to post the swaras sheela is singing? It will be useful for new young learners to learn this song and render it during the ensuing Navaratri season!

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:54

rAga SuddhasALavi, AditALa

Notation

Pallavi

S*, | , S*N | P, PM | RS | N^SG, | ; | GMPM | RS ||
su-----j~nA-----na dA--yi---nIm van-------dE

S G | , GM | P, MP | NN PN | S*, S*, | S*NPM | RS G, |, MPN ||
sadA-nA--------da---vi---nO------di----nIm-------------------------[1]

S*NPN | S*, S*N | PM | PMRS | N*S G, | --ditto--
su---------------j~nA-na?dA-----yi---nIm [2]

anupallavi

;PM | ,P N | ,S* | NS*G*, | ; M*R* | ,S*; | R*S*NP | NNS*, ||
suja---napA-li----nIm suma--- tIm sun--------darIm

;G*M* | R*S*,N | P M | GM,R | S, N^S | G, | G; M | ,P,N ||AP||
su-ja----nakAmadhEnu svarUpiNIM sumi-trAm sA-vi?trim

caraNagaLu

GG,M | ; R, | SSN^P^ | RS MG | PM N P | PS*NP | ,M G, | MP; ||
anantA---nantakOTi-paSujana-gaNayuta-brahmANDanA-yikAm

N P S*N | S* R*S*N | PMP N | S*NS*G* | NS*G*, | ,G*,M* | R*,S*N | PMPR* ||
sanakA----di mahA--------muni pU-ji?ta bRhadA---A--------nandanA---yi-kAm [1]

R*S*, S* | NP N P | MR, S | N^S G, | ; PM | PN, R* | S*NPN | S*,; ||
a-riShTA---paharaNakAryani-ratAmpaSupati- pri--yanA-yi-kAm

S*N, S* | G*,M*, | G*M*P*M* | R*,R*S* | R*S*, S* | NP M, | R S, G | ,MPN ||
a-SE-Sa SA-stra prati--pA-----------di-ta prakRtyAt?mikAmbRhannAyi kAm [2]

NPN M | P S*NP |MP N, | NS*, G* | ;G*, | G*M*R*S* | R*,S* N | PN S*, ||
amaraga-Navandi-tapadAm ajAmE-----kA-----------miti su-prasi----ddhAm

NS*G* M* | R* S*NP | S*NR*, | S*NP, | PS*N P | ,M G, | MR, S | GMPN ||
vimalAt-----mi--ka-SrI--vid-yAm AdyAm vijayaSuddhamALavIpri-yAM [3]

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:55

Key
* indicates tAra sthAyi while ^ indicates mandra sthAyi.
, is one akShara while ; is 2 akSharas. Each ETu/beat has 4 swaras in madhyamakAla(underlined) or 2 in ordinary speed(not underlined).
I have changed notation in 1 or 2 places so as to keep rAgaswarUpa intact.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:55

I have uploaded the PDF version of the above notation on rapidshare. Here is the link (posted new link further down in a later post)

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:56

DRS this is going to be a long post , but i cannot help it.You have touched a very sweet spot by linking up suha sughrai with Shudha salavi..

To start with a rare amir khan concert excerpt.
: http://rapidshare.de/files/4305175/Amir ... _.mp3.html

30 seconds into it , there is a resounding ?Kya bath hai khan Sahab?.Must have been a small gathering .To recreate some of the mood , I have put up a 3 minute video clip from a documentary on Amir Khan.One can see Kumar Gandharv in the audience , with camera focused on him for a while.

: http://rapidshare.de/files/4307282/AMIR_KHAN.MPG.html

Next a soulful suha by Jitendra Abhisheki.
: http://rapidshare.de/files/4304485/Jite ... a.mp3.html

Since we have not put up much of instrumentals here on this forum,I thought Vilayath?s Sughrai would add a bit of colour.
: http://rapidshare.de/files/4306348/Vila ... i.mp3.html

Then Bhimsens joshi version ..
: http://rapidshare.de/files/4307498/Bhim ... i.mp3.html

Two more tracks of Govindaprasad Jaipurawale..He reminds me so much of neyyatinkara vasudevan.a thin voice , but such magical effect ..
: http://rapidshare.de/files/4305387/Govi ... r.mp3.html
: http://rapidshare.de/files/4305716/Govi ... e.mp3.html

And on to the piece de resistance?
: http://rapidshare.de/files/4308006/Gang ... a.mp3.html

A mournful suha by Gangubai Hangal.

There is an interesting anecdote of how she learnt this raga from sawai gandharv.
Soon after she got a contract with AIR, she found out that she had to sing three ragas per day as per the contract ,whenever invited.It did not take a long time for her to exhaust all known ragas , and she now found her Gurus method of taking a lot of time with each raga, a problem.
Once while he was away from Kundgol, She went and sang Vibhas at Pune AIR , though it was not taught to her by her Guru.She safely assumed that at Kundgol ,with no electricity, her Guru would not come to know of it.
As she boarded the train to return to hubli, she was mortified to see her Guru in the same train.He had been to Bombay and had heard her over the Radio.After lambasting her for singing it , he spent the rest of the journey teaching it to her, right there in the train.
Immediately after ,he started teaching her new ragas , but would not name them , just teach them.As soon as the next AIR Deadline came Gangubai was ready with the Contract form .But the entire household was scared of showing it to him .However at the end of the days training , the Guru asked her if something was amiss and she put out her contract form.
And after reading it he advised her to write out --Suha .
But when could she finish it.

The guru was annoyed at her haste but replied that the raga she was learning for the past month was indeed suha and she could now go and sing it if she wished.
(Source-sangeeth natak academy ?nov 89)
Sawai gandharv , who was also teaching Bhimsen jOshi and nanasahib nadgir at the same time never taught them together.It was his belief that each individual had to be taught separately

lastly a track by kaivalyakumar , from the present set of singers, belonging to the same lineage.
: http://rapidshare.de/files/4305896/kaiv ... a.mp3.html

am also working on a great sughrai kanada bhajan by omkarnath thakur with msg at the music academy.

will put it up later.

cmlover · Post by **cmlover** » 27 Nov 2005, 00:56

Thanks a lot DRS.

This navaratri will be very special since I plan to share all this music with a lot of friends. I fervently hope the silent visitors to this site will inspire present CM singers to this erstwhile hidden treasure-trove.

Personally I am very happy that you have inspired coolkarni to open his treasure chest of HM and bringing him back to the 'Twilight zone'. The lively anecdotes are the added bonus.

I am immensely enjoying the Sanskrit SangItam and the Srividya Spitualism with the side dish of HM with the added Historical comments by Raja Chandra.

kudos to the team!

dhanyavaad

cmlover · Post by **cmlover** » 27 Nov 2005, 00:56

... and let me not forget also Lakshman for providing the conventional wisdom on ragas and kritis..

coolkarni · Post by **coolkarni** » 27 Nov 2005, 00:56

here is the kabir bhajan-omkarnath with msg

http://rapidshare.de/files/4309463/omka ... a.mp3.html

kartik · Post by **kartik** » 27 Nov 2005, 00:57

DRS,
This is one of the finest kritis of Odeyar on par with the Vasantha piece which is also mesmerizing to say the least.IT has also has a LOT of swara-sahitya passages.

Bade Ghulam Ali Khan did not use Dhaivat in many of his Adana renderings.This was a hotspot of discussions earlier in a thread in google groups when finally someone called up Bade's son in Delhi who confirmed that the Ustad used to eschew the Dhaivat in certain renderings of Adana.I have a version of Adana which doenst have Dha,and Ustad says "Ismein Dhaivat nahin lagaate".
That version of Adana is also close to Shudh Salavi.Bade uses phrases such as GMPS/SNRS/GMRS/SNR/P(M)GaaMRS.

As DRS points out,P(M)GaMRS with stressed Ga is the clear Kanada family signature.This is also seen in certain Malhars such as Miyan Ki Malhar,though Malhars have their one MRP signature too.

meena · Post by **meena** » 27 Nov 2005, 00:59

kulkarniji
thanks for bhimsen and hangal clips.

she has very ' masculine' voice (just my opinion) but powerful though. Enjoyed listening to her.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 00:59

Just made corrections to the notation(the underlining had got missed out in the cutting and pasting). Also, found a small error in PDF file whch I have corrected. Here is the link for the corrected version.

http://rapidshare.de/files/4324535/Sudd ... i.pdf.html

Are we having the next one?

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 01:00

DRS,
Bade Ghulam Ali Khan did not use Dhaivat in many of his Adana renderings.This was a hotspot of discussions earlier in a thread in google groups when finally someone called up Bade's son in Delhi who confirmed that the Ustad used to eschew the Dhaivat in certain renderings of Adana.I have a version of Adana which doenst have Dha,and Ustad says "Ismein Dhaivat nahin lagaate".
That version of Adana is also close to Shudh Salavi.Bade uses phrases such as GMPS/SNRS/GMRS/SNR/P(M)GaaMRS.

As DRS points out,P(M)GaMRS with stressed Ga is the clear Kanada family signature.This is also seen in certain Malhars such as Miyan Ki Malhar,though Malhars have their one MRP signature too.

aDANa (In the version devoid of dhaivata) in avarOhi phrases will sound similar to SuddhasALavi but the crucial gAndhAra in ArOhaNa for SuddhasALavi is absent from aDANa. Instead it has RShabha which is in turn absent in SuddhasALavi in ascent. Therefore SRMP is in and SGMP out in aDANA while the converse is true for SuddhamALavi.

Having listened again to suhA, sughrAi and read about them on the net, suhA with its kANaDA ang(signature) of PMGMRS and PGMR- and an emphasis on G is just like SuddhamALavi. sughrAi has a sArang movement of PMRS. As I said earlier P is important in this rAga.But the uttarAnga is similar to SuddhasALavi in permitting PNS rather that the PNPS in suhA. Of course we are not considering the N3 shades that can make an appearance and also dhaivata tht creeps into some renderings of sughrAi. And last but not the least, many hindUstAni musicians sing a hybrid version suhA-sughrAi combining both!

Raja Chandra · Post by **Raja Chandra** » 27 Nov 2005, 01:00

DRS,

suj~nAna dAyinIm vamdE |
sadAnAda vinOdinIm

I salute the Giver of appropriate/good/- _auspicious knowledge to You sir !

I remember, you stating that Devi was not bhaktasulabhE.

please see her at

http://rapidshare.de/files/4327353/cham ... i.jpg.html

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 01:01

Raja chandra
I am touched and humbled by your gesture. She comes when She chooses; Not when we want her to. She knows what is best. bhaktana mAtige adhInaLAGi bandihaLu. aShTe! She could not refuse to comply with the wishes of a bhakta|

bendu bisila bEgeyoLAn
andu bakadavOlu kAdu nindaru mogavam |
ondinitu tOralollade
nindavaLindemma maneya sErideyentO ||1||

andennoLidda kunduga-
LindEn kundihudo kANe andillada bE- |
rondAnum satkRtyama-
nindAn gaidihudu kANe karagideyentO ||2||

manda matiyan uddharipuda-
kindu manassada marma indranumariyan |
indire arasanum ariyan
indumukhi idannu rAja candrane arivan ||3||

andamanosaruva sale pU-
rNEndumukhava tOri emma mansa toLagidai |
anduge uliva padangaLa
mundiTTu SrIya tandu maneya beLagidai ||4||

hindina hore horuvaLu nIn
indina tere teredu divya jANIvaLu nIn |
mundina mare maresadavOl
kandana karaviDidu kareya kANisu tAyE ||5||

coolkarni · Post by **coolkarni** » 27 Nov 2005, 01:01

http://rapidshare.de/files/4339305/Durv ... e.mp3.html

rshankar · Post by **rshankar** » 27 Nov 2005, 01:02

Kulkarni sa'ab,
This track was extremely appealing: can't exactly pinpoint why. Thanks for distributing the wealth around! 'yAm petra inbam ivvayagam peruga' must be your motto: I will let cmlji to explain that!
We (a small groups of local MD fans) have gotten into the habit of calling certain composers 'Dikshitaroid' which, in our eyes is high praise! And I think the Maharaja can very aptly be called a "Dikshitaroid"
Ravi

coolkarni · Post by **coolkarni** » 27 Nov 2005, 01:02

rshankar

i can only respond in kannada by saying "kereya neranu kerege challi ,varava padedavaranthe kaniro...' and wait for DRS to explain the full dasaranama.

my own contributions in absolute terms are very small and am very happy to be a part of this ongoing process of enlightenment.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 01:02

|| gam gaNapatE namastE||

rAga: dUrvAnki ; tRiSratripuTa tALa

gam gaNapatE namastE|
gandhAnulipta sarvAngayuta||

gangAdhara sammOdita|
gamgAjalAbhiShikta||
gAngEyaratnAbharaNa bhUShita gandharvagAnAsakta||

siddhayOgi suramuni vandita |
buddhidAyaka suvibhavayuta|
siddhikara SrIvidyA pAlita|
Suddhamati varapradAnarata||
bhAdrapada Sukla chaturthI mahita dUrvAnki rAgatOShita||

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 01:02

S.Sankar introduces the sAhitya. coolkarni, who are the vocalists?

rAga: dUrvAnki ; tRiSratripuTa tALa

gam gaNapatE namastE- I bow to lord gaNapati whose holay syllable/bIjAShara is gam
aum gam gaNapatayE namaH is a vedic incantation to propitiate Lord gaNapati. "ga" is a name of gaNapati, viShNu and Siva. As a root it means "togo, reacg, make clear" etc. As gaNESa is the One who clears the path of obstacles and helps us proceed and reach our goal, ga as His name and gam as His bIjAkShara are very apt. AsWe also repeat "gam gaNapatayE namaH. kSham kShatrapAlakAya namaH. pam paramAtmanE namaH" during sandhyAvandane"

gandhAnulipta sarvAngayuta- Him with his entired body besmeared with sandal paste.

gangAdhara sammOdita- Him pleased by Lord Siva(one who bears ganga on his head).
gamgAjalAbhiShikta- Him bathed by the holy waters of ganga
gAngEyaratnAbharaNa bhUShita- Him adorned by ornaments of gold and gems.
gAngEya has a meaning of gold.

gandharvagAnAsakta- Him enthusiastic about/interested in music.
Music is called gandharvakale as the gandharvas, a class of semi-celestial beings are famed for their proficiency in music

siddhayOgi suramuni vandita- Him worshipped by siddhas, yOgis, Gods and sages.
buddhidAyaka suvibhavayuta- Him with the benevolent power of bestowing knowledge.
siddhikara- Him giving success/accomplishment/fulfilment; SrIvidyA pAlita- Him nourished/protected by SrIvidya(pArvati).
It could also be taken to mean as Him protecting SrIvidyA as he is on the periphery of the Sricakra and resides in the mUlAdhAra cakra, guarding/granting the entry to the inner precincts.

Suddhamati varapradAnarata|- Him engaged in bestowing pure and untainted thought/intention/perception/understanding.
bhAdrapada Sukla chaturthI mahita- Him worhipped on the gaNESa cauti/caturthi day
(which falls in the bhAdrapada mAsa, Sukla pakSha, caturthI. Recall the lines from MD`s siddhivinAyakam in rAga cAmara;-
bhAdrapada mAsa caturthyAm brAhmaNAdi pUjitam)

dUrvAnki rAgatOShita- Him pleased by the rAga dUrvAnki.

drshrikaanth · Post by **drshrikaanth** » 27 Nov 2005, 01:03

dUrvAnki is a upAnga janya of dhIra SankarAbharaNa, the 29th mELa. It is auDava-vakrasampUrNa.
Scale

SR2M1PD2S* | S*N3PDPMG3RS ||

The rAga is a find of oDeyar. It has been mentioned in treatises bu would not have seen the light of day had it not been for oDeyar. It figures in R.R.Keshavamurthy`s book(appendix) as dUrvAngi and dhUrvAnki. The scale is the same as above. There is a chAye of sAma and durgA/dEvakriya in the rAga. The pallavi starts of as " SRM,M,MPD,P,D,;" which sounds like durga while "SRMP" with an upward gamaka of M(towards P" sounds like sAma. The avarOhaNa phrases from D to madhya ShaDja ar also like sAma. A pleasing rAga. Entry of N3 mitigates the SAnta rasa to a degree. M and D are important swaras and R to a lesser extent(in avarOhaNa).

coolkarni · Post by **coolkarni** » 27 Nov 2005, 01:03

http://rapidshare.de/files/4352975/Vasa ... _.mp3.html