Jayachamaraja Odeyar (Mysore Maharajah) - Part II

Carnatic composers (other than performing vidwans)
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cmlover
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Post by cmlover »

>>is refers to the well known episode of ISvara not being invited to the yAga by dakSha, dAkShAyaNi throwing herself into the sacrificial fire and Siva assuming the form of vIrabhadra and slaying dakSha<<

Daksha being a prajApati could not be slayed. Hence vishvakarma fitted him with the head of a goat.

DRS

it is outlandish to speculate on a 'Freudian Analysis' of JC to explain his identfying the three Goddesses and not the Trinity. Oedipus Complex ;-) WOW!

Raja Chandra
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Post by Raja Chandra »

DRS/RC/CML,
One of the observations I can't help making is: while the Maharaja seems to have treated the 3 shakthIs as interchangeable, the identities of the trinity (or atleast, shivA and vishNU) are kept separate. Is this a correct one?
Ravi
It is difficult to accept this view. One should know oDeyar was a Datta upasaka. Undoubtedly his magnum opus wad his book "Dattatreya-The Way and the goal" (published at London by George Allen & Unwin Ltd in 1957 a kannada version was published by praja printers private ltd, B?lore in 1982 with translation by S.Venkatachalapathi. Incidentally oDeyar donated the proceeds from this book to Handicapped in UK ). Dattareya signifies a confluence of Brahama, Vishnu and Maheshvara. In this oDeyar gives an authoritative exposition of Vedantic Absolutism, based upon the traditional teachings of Dattatreya?s philosophy .

As he says Dattatreya is the integrated vision of a seamless Reality, the ever ?holy, the all pervasive Reality vouchsafed to us by HIM as the philosopher , avadhUta, who takes us under His protective wings as Isvara, the Lord of all.

aishvaraM paramaM tattvaM AdimadhyAtavarjitaM
AdhAraM sarvalOkAnAM anAdhAramavikrayam
anaMtAnaMdabhOdhAMbunidhimadbhutavikrayam
aMbikApatimIshamanIshaM praNamAmyaham
-sUtasaMhite

?I offer my salutations to the supreme power, the Highest Reality, the Real, that which is devoid of a beginning, a middle and an end, the prop of the whole universe, Itself needing no prop, the support of all worlds, the changeless, the ocean of infinite bliss and knowledge, the most marvelous Being, the lord of AMBIKA, THE MOTHER OF ALL THAT EXISTS AND THAT THAN WHICH THERE IS NOTHING MORE SUPREME?

rshankar
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Post by rshankar »

Thanks, RC. I am not aquainted with his works, and hence the question. But in his krithIs, the identity of the trinity seems to be kept distinct, but not of their respective shaktIs.
Ravi

drshrikaanth
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Post by drshrikaanth »

Raja Chandra
Ravi pointed to oDeyar`s kRtis. The observation is solely to do with hi kRtis and not his philosophy or outlook. In the kRtis, he appears to have kept ISvara and viShNu separate without referring to one as the other.

CML
The analyisis is oulandish only in so far as it is unconventional(Is it? Unusual is more like it.) and it is literally from out of the land as Iam doing it from the UK. But it is not inconceivable. At the end of the day oDeyar was a human being like anyone of us and was subject to the same kind of influences.

Raja Chandra
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Post by Raja Chandra »

Perhaps it is a reflection of oDeyar`s psyche- He might have been closer to his mother, seen her in various forms and took liberties(salige) with her but had a strict father who he saw as just that. As an exetension, he was closer to Mother and saw everyone/everything in her but not soe with ISvara or viShNu. This is Freudian analysis. Perhaps Raja Chandra can throw light on this.
Well the first thing, which comes to, my mind is: how competent am I to answer this Freudian Analysis? The closest I ever came to oDeyar was when I was recklessly peddling my humble bicycle on the way the Yuvaraja?s College and almost came under his car near Chamundi Vihar (then a Royal mansion where oDeyar was born and was the official residence of Yuvaraja and wherein his mother continued to stay. But to dayit is part of a Sports Stadium and the Mansion a much neglected and crumbling edifice)?

Yet I cannot help wondering at DRS?s Freudian Analysis. It just sounds apocryphal yet there is something which rings a bell in my mind.

When the Yuvaraja died in 1939, oDeyar was hardly 20. Yuvaraja was very busy man being an extra-ordinary member of the council of Minister. He was involved with the upliftment of downtrodden, founding of the university of Mysore etc. Dr.Radhakrsihna once wrote- ?yuvaraja had the heart of a child and made you feel at home in a moment. There was no sense of pride or superiority. His inborn grace and unassuming dignity endeared him to all. He had a profound desire to raise the general condition of the country and status of women. His speeches bear witness to his throbbing love for India and intense loyalty to civilized values?.

Yuvaraja was a avid and frequent traveler and extensively traveled abroad and arguably a one of the greatest ambassador of Indian Culture and Music in those days daily Telegraph once wrote of his speeches ? words which if spoken in the house Lords, would have been front page news?

Alas! Sangeetam once wrote a bumptious article on such a soul.

Thus oDeyar obviously was in awe of his father and yet saw very little of him in his adolescent days.

Now let us revert the analysis to his relationship with his mother.

This brings us back to Dattatreya again. While dedicating the book , he states:

TO MY MOTHER: who showed me the light of Datta, most gracious lady, Her Higness Sri Kempu Cheluvajammanni Avaru, the yuvarani of Mysore, an example of the highest order of Indian womanhood, a great devotee and a loving and benign mother,

This book is most respectfully dedicated by her devoted and loving son,Jaya chamaraja Wadiyar.

By 1970, oDeyar?s health had taken a nose dive and he could barely walk.This forced him to go to USA for treatment and was admitted to a hospital there. But his mother died suddenly and he immediately got discharged and came back to Mysore against medical advice. He is said to have walked barefoot under hot sun from Chamundi Vihar to the Royal burial ground at Madhuvana leading his mother?s last journey. Such was his love and devotion to his mother.

In a letter to one his aide as early as 1955 he is said to have written: I would like to personally like to devote the rest of my life to the sons of India? God and my mother and the unfortunate people of this land?

Need I say more!

drshrikaanth
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Post by drshrikaanth »

Thanks Raja Chandra. What you have said shows a very human and touching side of oDeyar. I did remeber your mentioning his dedicating dattAtreya to his mother. It also adds credibility to what I said. My conjencture on the posibble explanation for an observation was not so much apocryphal as nonfalsifiable. But that is Freud for you. Nonfalsifiablity does not take away the attractiveness or the credibility of his theories and contributions.

cmlover
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Post by cmlover »

I tend to lean towards a 'Jungian' interpretation than 'Freudian' on the basis of what little anecdotal facts that RC has provided. As a fine blend of both East and West it is the 'Superego' that plays a major role in his artistic creations rather than the primal 'Id'.His creativity is the product of the inherited 'collective consciousness' (a la Jung) as is evident from the artistic genius collectively of the Wodeyars. What puzzles me is his simultaneous polarization in Sri Vidya which is cloaked in mysticism with the advaitic concept of 'Dattatreya'. (I have not read the book yet). These are irreconcilable extremes. This duality must have manifested in several formats in his life: East vs West; Indian Music vs Western Music; Monarchy vs Democracy; ChamuNDesvari vs Dattatreya; Iconoclast vs Idol-worshipper; benevolent Mother vs authoritarian Father; Conservatism vs Liberalism and perhaps many more which RC may be able to list as a Historian.

Fascinating...

Raja Chandra
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Post by Raja Chandra »

But that is Freud for you. Nonfalsifiablity does not take away the attractiveness or the credibility of his theories and contributions.
DRS: I was just quoting the phrase used by you and apocryphal was my initial reaction. By digging deep in to my collection (which is growing by the day- like till 13th night I did not know there was a kannada version of Dattatreya and by 15th afternoon I was perusing my own copy of it!), I ended up adding gist to your intuitive brain wave ! We are only trying to understand the enigmatic personality of oDeyar as best as we can. Thanks for being proactive !

While discussing this kRuti it seems to have escaped your attention to remind the readers about the assocaition of kalabhairava with the mysore royalty. ( we have discussed this earlier)

Raja Chandra
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Post by Raja Chandra »

These are irreconcilable extremes. This duality must have manifested in several formats in his life
CML,

Historian!!! Goodness gracious me! No way sir, I am an Engineer by qualification and an industrialist by vocation. I just wandered in to these forums by sheer accident and it has been an addictive learning journey all the way.

Here is another of those irreconcilable extremes you are alluding to! But I feel he only evolved and was pragmatic as he learnt along the way.

As would be natural for a blue blooded Kshatriya, oDeyar was a passionate Big Game hunter early in his life. As was his wont, he had to master anything, which kindled his interest. In fact his exploits in the jungles of Mysore are legendary. Yet it is generally said his big game hunting were largely to save his subjects from rogue elephants or man-eating tigers. As one his officer has stated he used to roam the forests alone all the time making extensive notes all the time. He is supposed to have created extensive salt licks for the forest denizens. He became an authority on wild life and was the first chairman of Central Board of Wild Life Preservation!

Thanks !

cmlover
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Post by cmlover »

RC

We are what we are by our interest and not by bookish knowledge or by paper qualifications. JC though a king is a poet and 'nature lover' at heart.

I guess the big game huntings were fashonable during the British times. It was also the Royal duty of a kShatriya. Here is the fine example of the blend of East with West. One aspect that you have not covered is his modern scientific outlook. It is only under a monarch of vision that genius like that of vishvesvaraiya could effloresce. The engineering marvel that transformed TN into the granary of Madras Presidency was primarily due to his engineering marvel which unfortunately is the root of lingustic schism at present. Sir V had the vision of uniting the Rivers of Bharata VarSha which would have become a reality had he lived longer!

You have described JC's linguistic talents. Did he compose any in Tamil/Telugu?

Raja Chandra
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Post by Raja Chandra »

Sir V had the vision of uniting the Rivers of Bharata VarSha which would have become a reality had he lived longer!
Sir MV lived for 101 years!

When Sir Mv resigned from his post of Diwan, oDeyar was not born yet !

His 100Th birthday was celebrated at Glass House/Lal Bagh, Bangalore on 15-9-1960 and the function was presided by oDeyar (then Governor of Mysore) and Pandit Nehru(then PM of India) was also present. After all the dignitaries spoke in glowing terms and Sir MV in his felicitation speech just said -Thank you very much and concluded!

Iron and Steel factory at Bhadravati, was one of the Industries, which was started when Sir MV was the Diwan. But the Industry was floundering in later years and Sir MV took over as the Administrative head of the factory for six years. Ultimately when he resigned from the post , he donated his entire remuneration to start a Polytechnic institute and named it after the then maharaja Sri JCRW !

Raja Chandra
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Post by Raja Chandra »

You have described JC's linguistic talents. Did he compose any in Tamil/Telugu?
I doubt ! Atleast not to my knowledge. Considering the fact he was the Governor of Madras( as it was known then) for few years he had ample opportunities to master Tamil, i wonder if any of our friends from TN can throw some light on this ?

cmlover
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Post by cmlover »

Sorry RC for referring to Vishveshvarayya as SIr though he richly deserves it for his service but he is indeed one of our precious 'Bharata Ratna'!

I didn't know he was a centinarian! Any more relevant anecdotes....

Raja Chandra
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Post by Raja Chandra »

Unfortunate thing with the Indian constitution is that it precludes use of padma awards and Bharata Ratna awards being used either as a suffix or prefix and so old timers still call him as Sir MV !

cmlover
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Post by cmlover »

True RC! But think of this: At least Bharatha Ratna can be abbreviated as BR.
Aren't we glad they did not name the award Bharatha ShrEShTa ;-)

Raja Chandra
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Post by Raja Chandra »

Any more relevant anecdotes....
Before becoming Diwan of Mysore, MV was the Chief Engineer of Mysore State. His maternal uncle Sri.H. Ramiah was the Chief Manager of the Sr Rameshvara Temple at Chamaraj-Pet /Bangalore. Once He had organized a harikatha and the then Diwan Sri.V.P.Madhava Rao and MV were among the dignitaries who attended that evening?s function. Harikatha Dasa was narrating a rare mythological episode. Thinking MV would not have understood the significance of the episode VPM took pains to explain the background of the particular episode to him. To which MV retorted ? It is all right, look at those poor children running around with tattered clothes, dirty face, disheveled hair, unhealthy body, fragile arms and legs, bloated stomach, howling and crying; why your Purana does not say anything in this regard?

cmlover
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Post by cmlover »

Indeed a man of rare compassion! Reminds me of Gandhiji's resolve to designate the downtrodden as 'Harijans'! He wrote:
" If it was proved to me that this (*untouchability*) is an essential part of Hinduism, I for one would declare myself an open rebel against Hinduism itself " (Young India Nov 2, 1920)
and he did by strating the Harijan News Paper.

Now pl enlighten me on the issue of untouchability. In deference to Gandhiji's teachings the Royalty of Travancore made the famous Temple Entry Proclamation (?1936). Did JC or his father have a similar one instituted? What was the situation in the Mysore State?

Raja Chandra
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Post by Raja Chandra »

Sorry Rasika?s if we are straying away from the forum?s main focus and pardon us if we are engaged in a monologue! I avoided answering this question for a while to see if some one will chip in with some thing or the other.

CML,

I spent almost a year at Trivandrum while working at VSSC/ISRO during 1976 under some very illustrious peers. During this sojourn to the southern tip of India, I naturally visited the famous Anantha Padmanabha Temple couple of times. It was a revelation for some one going out of home for the first time from a rather liberal Mysore. It wasn?t that easy to gain entrance to the Temple even then. I can very well imagine the situation way back in 1936.

That apart Mysore Royalty was probably among the first in the country to lend a sympathetic and helping hand in this fight against this old age taboo and bringing social legislation to uplift the depressed, the oppressed and the backward masses to the forefront.

Among the main pillars of such an agitation were the Maharaja KRW IV, Yuvaraja, and their maternal Uncle Sir. M.Kantha Rah Urs (MKU) and also Dr.C.R. Reddy.

Kindly read the comments of Dr.Radhakrishnan on Yuvaraja from this perspective. In the year 1914, Yuvaraja founded what was called as the ? Bangalore Social Service League? and made MKU as its President and paved the way for a sustained effort to ameliorate the cause of the Adi- Karanatakas and Adi- Dravidas .

Around this time Maharaja threw open all the schools to all classes of his people irrespective of caste or creed.

Much against the wishes of MV who was the Diwan, maharaja constituted a seven man Commission under the chairmanship of Sir. Leslie Miller ? the then Chief Justice of Mysore State, to look in to growing demands by the oppressed and backward classes to provide an equitable chance to participate in the Administration of the state which was monopoly of the Brahmins then. MV opposed the report and preferred to resign from the post of Diwan (9-12-1918). MKU succeeded as the Diwan on 14-7-1919 and Millers report was submitted on 18-7-1919. Incidentally the Commission?s two Brahmin members opposed the remaining five members supported the Report. Amid wide spread criticism from the Brahmin lobby, an order was issued in May 1921 incorporating the recommendations of the Millers Report.

Adi Dravida Abhivriddhi Sangam while presenting an address on behalf of eleven lakhs Panchamas of the state to MKU on 25-10-1920 -who by now had become the Diwan of Mysore ? they said ?To H.H. the Yuvaraja and to you in a special measure, my community commands me to convey their sense of profound gratitude and thanks?.

MKU retired from service in 1922 due to ill health and died in 1923. Even though his Mansion with vast expanse of land around in Mysore is known to day as ?Manasa Gangothri? and is the Post Graduate Center of the University of Mysore, he is virtually a unsung man!

In 1936, Maaharaja even threw open the gates of Palace to the Panachamas. Britannica Encyclopedia acknowledges this event as the first among the Indian States.

It was pleasant surprise to see Dr. Subash Bharani, a serving IPS officer of the State (ADGP, LAw and Order, GOK), dedicating his doctoral thesis/book: dharege doDDavaru ? a study of Adi-Karnataka of Mysore District? to Rajarshi Nalvadi Krishna Raja wadiyar! He is openly critical of MV and says that the Maharaja deserved a posthumous award as Bharata Ratna ! ( book published by Dravid Publications, Mysore in 2005 - Thesis was presented to Kannada University, Hampi)

I once again apologise for my long winding post.

Raja Chandra
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Post by Raja Chandra »

To make amends for the long hiatus let us once again invoke lord ganesha with this:

Please d/l

http://rapidshare.de/files/11588898/g11.mp3.html



|| mahAgaNapatiM bhajEhaM ||

rAga: amRutavAhini ; Adi tALa

|| pallavi ||

|| mahAgaNapatiM bhajEhaM||
|| mAtaMga muKaM mooShakavAhaM ||

|| anupallavi ||

|| ShaNmuKAgrajaM ShaDAdhAraM ||
|| ShaDvidhajapa chakra nivAsinaM ||
|| sheeGravara prasAdadaM shilpa shAstra vishAradaM sheelashirOmaNiM ||

|| charaNa- 1 ||

|| siddhagaNAdi saMsEvitaM surAsura poojitaM shivasutaM||

|| charaNa 2||

|| viGnanAshakaM virAgiNaM vidEha muktEshvaraM
dheera chooDAmaNiM ||

|| charaNa-3 ||

|| sadyOjAtOpAsaka pramathanAthaM sudhAmadhura bhAShiNaM ||

|| charaNa-4 ||

|| shreeguru chitprabhAnaMdadAyakaM shreevidyAnAgaliMgavarasutaM ||


Vocal from vidushi RN Srilatha and editing in the end is not perfect and the vocalist has left out charaNa-2

Iknow DRS will post his version again while giving his inimitable vyAkyAna . Some of the rasika's may wonder why keep posting the sAhitya this way. The reason is very simple I follow a transliteration rule as followed by free software known as baraha. Interested readers can d/l the software from www.baraha.com. They can simply copy the sAhitya posted here and paste it back at baraha and get any chosen language version ( Kannada, Hindi, Marathi, Sanskrit, Tamil, Telugu, Malayalam) as supported by baraha immediately. I understand from CML it does not result in perfect conversion as each Indian language will have its own nuances but a literate in the particular language can correct it properly by using tools given in baraha itself.

drshrikaanth
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Post by drshrikaanth »

Raja Chandra
Yes indeed the thread has been going a tad astray. Still about JC only. By the way, MV is a bit confusing as we use it here to generally refer to Mysore Vasudevachar. As for being a multilinguist, oDeyar might have been but he certainly didnt compose in other languages. He did not even compose in kannaDa, his mothe rotngue and so the chances of composing in telugu and tamizh are even more remote.

drshrikaanth
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Post by drshrikaanth »

Raja chandra
Thanks for posting the lovely amRtavAhini kRti rendered by R.N.Srilatha. It is to be noted that Srilatha sings just as the sAhitya whereas the version I know is in the form of swara-sAhitya(For caraNas) as several other of oDeyar's kRtis. Heres the sAhitya

|| mahAgaNapatim bhajEham ||

rAga: amRtavAhini ; Adi tALa

mahAgaNapatim bhajEham|
mAtangamukham mUShakavAham ||P||

ShaNmukhAgrajam ShaDAdhAra |
ShaDvidhajapa cakra nivAsinam ||
SIghra varaprasAdadam SilpaSAstraviSAradam SIlaSirOmaNim ||AP||

siddhagaNAdi samsEvitam surAsura pUjitam Sivasutam ||C1||

vighnanASakam virAgiNam vidEhamuktISvaram dhIracUDAmaNim ||C2||

sadyOjAtOpAsaka pramathanAtham sudhAmadhura bhAShiNam ||C3||

SrIguru citprabhAnandadAyakam SrIvidyAnAgalingavarasutam ||C4||

Raja Chandra
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Post by Raja Chandra »

By the way, MV is a bit confusing as we use it here to generally refer to Mysore Vasudevachar.
DRS,

I agree it is indeed a bit confusing and was conscious of it myself! In the above few posts we were referring to Mokshagundam Visvesvaraya (1861-1962), who served as Diwan of Mysore during 1912-19. An eminent Engineer Statesman who was conferred with Bharat Ratna award after independence.

Where as among the carnatic music rasika's MV is a popular abbreviation for Vaggeyakara Mysore Vasudevacharya.

In fact his name was K.Vasudeavacharya, where K stands for kanakanahlli! May be the appellation Mysore was added after he moved to Madras!

Most amusing part of his initial K was he was not born at Kanakanahalli at all! His ancestors came from coimbatore district and MV (?) himself did not know much about his native place. When some one suggested that one should have some initials denoting the place of birth or ancestry, he is said to have told them to add what ever came to their mind. As some his known relatives were from Kanakanahalli, he was given the initials K! So it is up to you folks to call him as KV or MV?

drshrikaanth
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Post by drshrikaanth »

I agree it is indeed a bit confusing and was conscious of it myself! In the above few posts we were referring to Mokshagundam Visvesvaraya (1861-1962), who served as Diwan of Mysore during 1912-19. An eminent Engineer Statesman who was conferred with Bharat Ratna award after independence.

Where as among the carnatic music rasika's MV is a popular abbreviation for Vaggeyakara Mysore Vasudevacharya.
I had no doubts myself as to who you were referring to and of course I need no introduction to Vishveshvarayya as well. I made an observation as Sir MV became MV subsequently which can be cofusing if someone reads this bit out of context. This is a music forum after all and MV is more likely to be interprested as Vasudevachar. And yes I also knew that funny business about KanakanahaLLi. Apparently his ancestors (before going to Coimbatore) came from this place and there were some his relatives still living there which led to this prefix to his name. But he is Mysore Vasudevachar ro all music lovers and this is very apt as he spent the best part of his life in Mysore and his talents flowered and fructified here.
Thanks for showing oDeyars` compassionate side.Lets leave Sir MV aside now and move on.

drshrikaanth
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Post by drshrikaanth »

Meaning of || mahAgaNapatim bhajEham ||

rAga: amRtavAhini ; Adi tALa

mahAgaNapatim bhajE aham- I sing praise of mahAgaNapati;
mAtanga mukham- The elephant-faced One; mUShaka vAham-Him Who rides on a mouse;

ShaNmukha agrajam- The elder sibling of subrahmaNya, the six-faced Lord. (If you are two-faced you are a liar and untrustworthy person. If you are four, five or six-faced, You are worshipped as God!! bhalE ;-)). Reminds me of the dialogue in the movie "Cliff-hanger";- "If you kill one you are a murderer. if you kill a million you are a conqueror.") :))

ShaDAdhAra ShaDvidhajapa cakra nivAsinam- Him that resides in the 6 AdhAra cakras.
ShaDAdhAra refers to the 6 AdhAra cakras starting from mUlAdhAra and ascending. Iam not entirely sure what the 6 types of prayer refer to. One interpretation is prayers to the Lords/iShTadEvatAs of the six matas. But I do not know what that has got to do with the ShaTcakras. gaNapati is traditionally considered to reside in the mUlAdhAra cakra. Interestingly Islam (and also some schools of Christianity) ordains its "believers" to offer 6 kinds of prayer.

SIghra varaprasAdadam- Him Who grants boons anon/quickly; SilpaSAstraviSAradam- Him Who is an expert on the sciece of scultpting;
(CML, you may recall here that this was the line I was referring to when discussing about gaNapati being referred to as an expert in various arts/sciences)

SIlaSirOmaNim- Him possessing the best qualities (The jewel among those with a good disposition);
siddhagaNAdi samsEvitam- Him worshipped/served by the siddhas;
surAsura pUjitam- Him worshipped by the dEvas and the demons/asuras alike; Sivasutam- Son of Lord Siva;

vighnanASakam- Destroyer of all obstacles;
virAgiNam- Dispassionate One/Him with no worldly attachments;
vidEha mukti ISvaram- Overlord of salvation (the kind wherein one gives up the mortal body);
dhIracUDAmaNim- The best among the valiant;

sadyOjAtOpAsaka pramathanAtham- Him Who is the leader of the pramatha gaNas that worship Siva(sadyOjATa is a name of ISvara. It also particularly refers to one of his 5 faces. Recall "sadyOjAtAdi pancavaktraja" from tyAgarAja`s cittaranjani kRti, "nAdatanum aniSham").

sudhAmadhura bhAShiNam- Him with a nectarine speech.

SrIguru citprabhAnandadAyakam- Him Who granted guru citprabhAnanda (This I take as an autobiographical reference. oDeyar is thanking gaNapati for showing him his guru who guided him on the right path)

SrIvidyA nAgalinga varasutam- Son of SrIvidyA and nAgalinga i.e pArvati and Siva.

Raja Chandra
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Post by Raja Chandra »

DRS,

I feel nAgaliMgavarasutaM may also mean chitprabhAnaMda (being oDeyar?s dIkShA nAma) being the varaputra of nAgaliMga Mutt (of his guru shilpi siddalingaswamy)

Also this is the second kRuti about mahAgaNapati ? first one was in rAga aThANa -oDeyar's first composition. Both have many similarities. Both have many phrases in common, both do not have rAga mudra and in both oDeyar uses his dIkSha nAma! It is possible this kRuti must have been among his earliest one.

While discussing about gaNapati, it may be appropriate to narrate an anecdote on how gaNApati kindled his interest in carnatic music!

During ganEsha festival it was the practice in the Yuvaraja?s chamundi vihar palace to end the festival with Princess vijaya, sujaya and srijaya to accompany their guru Vidwan Venakatagiriyappa on veena during mahAmaMgaLArati. On one such occasion vidwan cheluvarayaswami-a disciple of Vidwan Venakatagiriyappa accompanied him. He played two kRuti?s composed by his guru on that occasion. One was in rAga shaMbhupriya and the second one was in rAga pashupatipriya. oDeyar who was present during the pooja was surprised at the similarities of these two kRuti?s with western music beats. Vidwan Venakatagiriyappa was an expert in western music himself and was able to explain the nuances of both the systems to the young oDeyar and make him interested in carnatic music. I believe oDeyar used to acknowledge this even after he ascended the throne and started composing.

cmlover
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Post by cmlover »

RC

I felt the same with both of the kritis on MahagaNapati. Of course the similarity is not accidental. I am still wondering about the prayogam "SilpaSAstraviSAradam-". Did JC have any contacts with A.K. Coomaraswamy ? Was he interested in Iconography?

>>He played two kRuti?s composed by his guru on that occasion. One was in rAga shaMbhupriya and the second one was in rAga pashupatipriya. oDeyar who was present during the pooja was surprised at the similarities of these two kRuti?s with western music beats. <<

Could you provide more info on the two ragas? I have listened to pashupatipriya but not the other.

Could DRS add any info?

drshrikaanth
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Post by drshrikaanth »

Raja chandra
What you have said adds a persnal dimension to the discussion and is,as always interesting and welcome. It could well be that aMrtavAhini and aTANa where among his earlier compositions.

drshrikaanth
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Post by drshrikaanth »

amRtavAhini is a upAnga janya of naTabhairavi, the 20th mELa. Its scale is

SR2M1PD1N2S* | S*NDMG"RS ||

This rAga was first employed by tyAgrAja. (Employed is an apt word here. Potential will not be realized and will not pay until and unless one finds employment. Many rAgas and their potential come to light solely because a master composer took interest in them, was shrewd enough to see their worth and put them to appropriate use for the world to see.)

The rAga, as pointed out by R.N.Srilatha, is a close cousin of sAramati. It evokes bhakti. N is jIva and oDeyar has started the kRti on this note just as tyAgarAja did. M is another important note which acts as a samvAdi to N. M and to a lesser extent, P are nyAsas.

AFAIK SrI rAmapAdamA by tyAgarAja is the only other composition known in this rAga. And I think oDeyar`s kRti adds a greater sweep and dimension to the rAga. A very beautiful composition. As noted earlier by Raja Chandra, the rAgamudre is not present.

Raja Chandra
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Post by Raja Chandra »

RC

Could you provide more info on the two ragas? I have listened to pashupatipriya but not the other.
i found the citation fom an article and will try and see if i can add to it

Raja Chandra
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Post by Raja Chandra »

We have missed goddess of learning so far. Let us invoke goddess shArada here:

please d/l


http://rapidshare.de/files/12035921/vaM ... A.mp3.html

|| vaMdEhaM sadA shAradAM||

rAga: haMsanaTani ; Adi tALa

|| pallavi ||

|| vaMdEhaM sadA shAradAM ||
|| haMsanaTanIrAga priyAM shree vidyAM ||

|| anupallavi ||

|| maMdahAsineeM manOnmaneeM ||
|| maMjuLa vAgvilAsineeM brahma mAnasOllAsinIM mAninIM ||

|| charaNa ||

|| moolAdhArAdi ShaT chakrAMtargatAM ||
|| mooka vAkpradAna suviKyAtAM ||
|| moola prakRutyAdi svaroopAM ||
|| moortAmoorta bhavya svaroopAM ||
|| kartRutvAdyateeta roopAM kavijana sammOhita chidroopAM ||

kiransurya
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Post by kiransurya »

Thats a beautiful composition...

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

unquestionably!

cmlover
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Post by cmlover »

DRS/Lakshman

My book tells hamsanaTani is from 18 th mela haTakambari. Since it is daivata varjyam it does not matter. But would like to hear your views too!

drshrikaanth
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Post by drshrikaanth »

Raja Chandra
Thanks for posting this fine composition rendered by Vid|| Sukanya Prabhakar and her daughter Sumana Vedant.

mAtu for || vandEham sadA shAradAm||

rAga: hamsanaTani ; Adi tALa

vandEham sadA shAradAm |
hamsanaTanI rAgapriyAm SrIvidyAm ||P||

mandahAsinIm manOnmanIm ||
manjuLa vAgvilAsinIm brahma mAnasOllAsinIm mAninIm ||AP||

mUlAdhArAdi ShaTcakrAntargatAm |
mUka vAkpradAna suvikhyAtAm |
mUla prakRtyAdisvarUpAm |
mUrtAmUrta bhavya svarUpAm ||
kartRtvAdyatIta rUpAm kavijana sammOdita cidrUpAm ||C||

drshrikaanth
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Post by drshrikaanth »

Meaning of || vandEham sadA shAradAm||

rAga: hamsanaTani ; Adi tALa

vandEham sadA shAradAm- I ever bow to SAradA.
hamsanaTanI rAgapriyAm- To Her Who likes hamsanaTani rAga; SrIvidyAm.

mandahAsinIm- Her with a gntle smile; manOnmanIm;
manjuLa vAgvilAsinIm- Her Who is softspoken;
brahma mAnasOllAsinIm- Her Who brings joy to brahma; mAninIm.

mUlAdhArAdi ShaTcakrAntargatA- Her Who is present in the 6 cakras starting from mUlAdhAra;
mUka vAkpradiaAna suvikhyAtAm- Her Who is famed for granting speech even to the dumb;
mUla prakRti AdisvarUpAm- Her Who is in the form of the grem/origin of the universe;
mUrta amUrta bhavya svarUpAm- Her Who is both with and without form;
kartRtvAdi atIta rUpAm- Her Who is beyond creation and destruction;
kavijana sammOdita cidrUpAm- Her Who is in the form of the intellect pleased by poets.

rshankar
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Post by rshankar »

DRS/CML,
Does shAradhA refer to saraswathI only? Isn't she supposed to be a manifestation of pAravthI as she is worshipped at the shringEri shAradhA pITam?
Ravi

drshrikaanth
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Post by drshrikaanth »

DRS/CML,
Does shAradhA refer to saraswathI only? Isn't she supposed to be a manifestation of pAravthI as she is worshipped at the shringEri shAradhA pITam?
Ravi
SAradA generally refers to saraswati only. But as you have rightly said, SArade in SrngEri is considered both brahmANi and SivAni. She is actually SrImAtA and hence incorporates all the 3 dEvis within herself.

rshankar
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Post by rshankar »

Thanks.
Ravi

drshrikaanth
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Post by drshrikaanth »

hamsanaTani is a svarAntara- auDava upANga rAga. As CML has correctly pointed, this rAga is traditionally placed under hATakAmbari/jayaSuddhamALavi, the 18th mELa. Sukanya Prabhakar states this as a janya of mAyAmALavagauLa, the 15th mELa. The absence of dhaivata makes it difficult to reslove this issue. Or perhaps it is a non-issue. The pUrvAnga will remind most people of the 15th mELa only as it is very popular. The uttarAnga however reminds one of jayaSuddhamALavi. D3 is a weak swara(beinga vivAdi) in this rAga and is often eschewd. N3 being close to tARa ShaDja makes the prayOga "PN3S*" sound as "PS*S*". Also D1 is a strong note in mAyAmALavagauLa and hence its absence weakens the impression of htis janaka. But the case is not too strong for either mELa.

That apart, the rAga is one brought to light by oDeyar`s kRti. I know of no other composition in the rAga. oDeyar has deftly handled the rAga;- so deftly in fact that one forgets the militations imposed by the rAga structure and the svarAntara ArOhaNa. The AROhaNa is identical with navarasakannaDa. But the descent gives a clear and distinct svarUpa to the rAga. M is a jIva and nyAsa swara. G is also a prominent note and is sung with a mild swing. The rAga evokes bhakti witha hint of adbhuta due to "PS" leap. A beautiful composition that bears ample testimony to oDeyar`s skill in handling rare rAgas.

cmlover
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Post by cmlover »

>>mUka vAkpradiaAna suvikhyAtAm- Her Who is famed for granting speech even to the dumb<<

In this case I am sure Odeyar is referring to the restoration of speech to the mUka kavi. See MD's shrI kamalAbikayA, shankarabharanam (navaavaraNaM0:
mUkamukhyavAkpradayA

<i>mUkamukhya vAk pradayA: The Goddess bestowed the poetic gift on Mooka Kavi and others. Mooka Kavi it was, who composed the mUka pancashati in praise of Goddess Kamakshi at Kanchipuram.
mUka kavi later became one of the shankaracharya of kanchi maTam.</i>

Again this goes to show that JC is identifying shArada with the trinity (srasvati, lakShmi and kaamaakShi).

meena
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Joined: 21 May 2005, 13:57

Post by meena »

Well sorry for jumping ahead....

i just heard this wonderful clip, and could not help informing u all + not sure if u all are aware. The concert of smt. dkp-dkj that parma has posted the links here today, has one of JJHW comp. (thanks parma)

deleted

|| shree jAlaMdhara ||

rAga: gaMbheeranATa ; Adi tALa

|| paavi ||

|| shree jAlaMdharamAshrayAmyahaM jalajAkShaM ||

|| anupaavi ||

|| shree jAhnaveedharaM shaMkaraM ||
|| shree vidyAswaroopaM shashidharaM ||
|| shree vAsaM sharvaM shivAramaNaM GaNigaNavarabhooShaNaM ||
|| shritajanAnaMtAbheeShTa PaladaM shree sadAshivamaniShaM ||

|| charaNa ||

|| purA, dEvatAkAryAthaM tripuradAhakaraM tryaMbakaM ||
|| murAri dEvottama poojitAdi pavitrapAda yugaLayugmaM ||
|| tAraka vadhArthaM mahAsEna roopadharaM dEvAdi pramuKaM ||
|| harAdyaKilanAma pratipAdyaM haMsaM jagadvyApakaM anaMtaM ||
|| puraMdarAdi sannuta gaMbheera nATya pradarshaka nAgaliMgaM ||
|| marakatamaNi shObhita liMgaM tAraka tEjOroopavAyuliMgaM ||

Chitta Swaras :
S, Snpdnpmp g,-mrs |r,, s rs, r, -m, -p, -n ||
SnSR, -MRS nRSn, S-d, |nS,, -R nS d,, pmp-g,-mpn ||

(lyrics -RC and chitta swara-Lji)

Raja Chandra
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Post by Raja Chandra »

Thanks meena,

i had a small clip of it and just yesterday i was listening to it !

There is a rendering of the same kRuti by her grand daughter Nityasree ( INRECO- Madhurasnagamam)

cmlover
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Post by cmlover »

RC/DRS

Did JC compose the cittaswaras or somebody else did? By the by are there any special circumstances that they are composed. HMB has done a lot and of course MD but apparently Thyagaraja didn't!

Raja Chandra
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Post by Raja Chandra »

CML,

I wish I could answer this question! Unfortunately there are very few who have seen the original noting of oDeyar.

As for as shree jAlaMdhara, I understand oDeyar requested ARI during the Dasara Durbar to sing this kRuti along with ciMtayAmi jagadAMba. After few days of practice ARI obliged oDeyar and thus it became known to the public at large and ARI must have popularized it by making it part of his concert repertoire.

cmlover
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Post by cmlover »

lakaara lObhAt sangeetam aghE bhavati
akaara lObhE sundarI bhavati jhaShaM
vakaara sakaara vikaaraat bhavati
sangeetapriyam sangeetaviyuktaM
ahO ekaakShara vinodaM jAlandharEshvara vibhO!

(If you get the meaning very good indeed!
But I will post the meaning if and only if Meena promises not to get mad at me ;-)

rshankar
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Post by rshankar »

Here is version of this by MLV in one of her AIR recordings:
http://rapidshare.de/files/12273031/11_ ... i.m4a.html
Ravi

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

mAtu for
|| SrI jAlandharam ||

rAga: gambhIranATa ; Adi tALa

SrI jAlandharamASrayAmyaham jalajAkSham ||P||

SrI jAhnavIdharam Sankaram |
SrI vidyAswarUpam SaSidharam ||
SrIvAsam Sarvam SivAramaNam maNi (phaNi) gaNavarabhUShaNam |
SritajanAnantAbhIShTa phaladam SrI sadASivamaniSam ||AP||

purA dEvatAkAryArtham tripuradahanakArakam (dAhakArakam) tryambakam |
murAri dEvottama pUjitAti pavitrapAda yugaLayuktam (yugmam) |
tAraka vadhArtham mahAsEna rUpadharam dEvAdi (dEvAdhi) pramukham |
harAdyakhilanAma pratipAdyam hamsam jagadvyApakamanantam ||
purandarAdi sannuta gambhIra nATya pradarSaka nAgalingam |
marakatamaNi SObhita(bhUShita) lingam tAraka tEjOrUpavAyulingam ||

drshrikaanth
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Post by drshrikaanth »

Meena
The ciTTeswara you have given is wrong. There is no Rshabha note in gambhIranATa.

CML
Please post the meaning of your witty vRtta.

cmlover
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Post by cmlover »

Meena

I am waiting your permission!

meena
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Post by meena »

cml
i'm ready to duck, pl go ahead ;)

DRS
I posted what i've on my files, pl. post the correct cittaswaras

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