Jayachamaraja Odeyar (Mysore Maharajah) - Part II

cmlover · Post by **cmlover** » 24 Oct 2005, 10:33

If your question is about rAjarAjESvarI
then
rA~jnAM rAjA rAjarAjA (king of kings) which as a bahuvrIhi can denote Siva
tasya ISvarI = rAjarAjESvarI. (overlord of Siva)

drshrikaanth · Post by **drshrikaanth** » 24 Oct 2005, 13:26

Oops CML. I now understand where the confusion arose from. That rajESvari was a typo in my post. All I wanted you to clarify was whether the dIrgha endings (rAjESvarI as opposed to rAjESvari) I have given. I am aware of raja meaning dirt. Anyway as you have not pointed it out, may I take it that the dIrgha endings are correct as the whole kRti is in prathamA vibhakti!

cmlover · Post by **cmlover** » 24 Oct 2005, 21:02

Perfetly
Since the statements are in Imperative and not vocative the dIrgha endings are fine! The singer (who is it) however does not seem to respect the same!

A minor correction. It must be
SrI kAncI nagarAdISvarI = a queen hailing from kAnci...

I agree the discussion of HMB does not belong here. We will wait for the revival of the thresd by Kartik. However the interaction of folks (MV, HMB, Chembai....) with JCW would be legitimate here! The historical insights that RC is unearthing is interesting an valuable. It is interesting to know that his father KRW is equally a gifted poet whose works never saw the light of the day!

I have to study carefully your notes on dvitIyAkShara praasa. Do you mind my querying here or should it be in another thread?

in this verse there is nice 'vi' praasa in pallavi and lovely 'ka' built in the charaNam. It is not everyday that we hear a song in viSvambhari. Let us get the vamSavati out and perhaps linger a while as to why this raga did not receive the treatment it desrves from other vaageyakaaras. High expectations from you

Raja Chandra · Post by **Raja Chandra** » 24 Oct 2005, 21:44

CML.

Thanks, but a small correction. KRW IV was uncle to JCRW.

drshrikaanth · Post by **drshrikaanth** » 24 Oct 2005, 23:17

A minor correction. It must be
SrI kAncI nagarAdISvarI = a queen hailing from kAnci..

Nope. kAncI nagarAdhISvarI is split as nagara+adhi+ISvarI meaning the queen/mistress of(not from) kAncI.

I have to study carefully your notes on dvitIyAkShara praasa. Do you mind my querying here or should it be in another thread?

I pointed that thread simply because I have already said it all there. There is not much I will add to it. Others of course are welcome to pen their thoughts.

Yes you are right. There is a nice prasa in this kRti we are discussing now. But the prAsa akShara we need to consider here is the 2nd letter and not the first one. First one applies to yati. Suffice to say that prAsa is edugai and yati/vaDi is mOnai. I have also taken care to mention the presence of prAsa in other oDeyar kRtis where I can find it. (I may have missed one or two. I will not contest that).
As I mentioned in my intial few posts in the thread, oDeyar has not respected dvitIyAkShara prAsa so much in his kRtis. Also, there are a number of his kRtis which have an odd/unconventional number of pAdas/lines in the caraNa. This viSvambhari kRti itself has 3 lines + 1 in madhyamakAla. You will not(hardly?) find the trinity/older vAggEyakAras taking such liberties. The splitting of sAhitya with respect to tALa is also unconventional in many of oDyar kRtis. This is certainly not to say that oDyar is not a great composer. Nay! Far from it. But if we get down to comparing, these are some of the things that will stand out.
I recall a saying in English:- "When there are 2 great people, why compare them and reduce to one!"

Let us get the vamSavati out and perhaps linger a while as to why this raga did not receive the treatment it desrves from other vaageyakaaras. High expectations from you

You spoke my mind. ANd I will not disappoint you

drshrikaanth · Post by **drshrikaanth** » 24 Oct 2005, 23:38

viSvambhari is the 54th sampUrNa mELa. Note that the nAme of the rAga does not strictly follow the kaTapayAdi sUtra rules. If we applied it strictly, it would be the 44th mELa which of course it is not.
vamSavati is the asampUrNa equivalent and is very similar. Scale

SR1G3M2PD3N3S* | S*NDPMGRS ||

The rAga is a new entry to CM. It is an indigenous find no doubt but came into being only beacuse of the formulation of the 72-mELa scheme by vEnkaTamakhi. R and D are important jIva swaras to delineate this rAga. The rAga evokes SOka rasa. It also gives rise to vIra rasa which is what oDeyar has laid emphasis on. pUrvAnga with R1 nurtures the former while uttarAnga with D3 favours the latter.
oDeyar`s kRti, as pointed out already by CML has prAa and yati. The pallavi and anupallavi start as vijayatAm (prAsa letter is ja). The 2nd lines in both P and AP start with vi (vimala, viSha) and hence honour the yati rules. The caraNa too likewise honour yati and prAsa rules.

The rAga does provide good scope for expansion. But it i important to keep showing D3 and R1 often to leave no room for doubt about the identity of the rAga. It differs from kAmavardhini and gamanaSrama only in dhaivata but that in itself causes a wide difference in their natures.

drshrikaanth · Post by **drshrikaanth** » 25 Oct 2005, 02:04

vamSavati is the 54th asampUrNa mELa. Its scale is

SR1G3M2PN3D3N3S* | S*NDPMGRS ||

Traditionally the ArOhaNa is given as straight PDNS but this is not seen in practice. Apart from PNDNS and SNDNS we also see PNS commonly. vamSavati sounds like amRtavarShiNi in places. The PNS & SNP prayOgas accentuate it. G, and N are jIva swaras and as well to a degree. D is not given too much prominence to avoid the vivAdi dOSha. This rAga evokes vIrarasa and adbhuta rasa.
This is a very pleasing rAga. vamSavati and viSvambhari sound quite distinct from each other. We have 2 of MD`s composition "vamSavati Sivayuvati" and "bhaktavatsalam". I have zipped these two(in realplayer format) and uploaded them onto rapidshare.

http://rapidshare.de/files/6686479/vamSavati.rar.html

Here is a composition of mine in vamSavati (CML I hope I havent` disappointed you :8

http://rapidshare.de/files/6712500/bekk ... h.mp3.html

Coolkarni
Can you post pieces in viSvambhari and vamsavati? Are there any elaborate renditions at all around?

cmlover · Post by **cmlover** » 25 Oct 2005, 04:20

Thanks RC for the correction!

DRS

kAncI nagarAdhISvarI is split as nagara+adhi+ISvarI

point gladly conceded

There is a problem in the interpretation of

viSvambharI- Her Who nurtures and preserves the universe;

If check Apte, the feminine of viSvanbhara is viSvambharA (see also the quote from Uttararaamacarita therein). Hence we should interpret viSvambhari as just the raga name and it may mean here 'you the one praised in the raga viSvambharI'.

While we are waiting for coolkarni to do his research can we have the lyric and meaning for that lovely 'bekkasa beragAde'. The praasam is bewitching ! Congratulations!

drshrikaanth · Post by **drshrikaanth** » 25 Oct 2005, 05:13

There is a problem in the interpretation of
viSvambharI- Her Who nurtures and preserves the universe;
If check Apte, the feminine of viSvanbhara is viSvambharA (see also the quote from Uttararaamacarita therein). Hence we should interpret viSvambhari as just the raga name and it may mean here 'you the one praised in the raga viSvambharI'.

viSvambhari is listed both in Cologne and Monier-Williams as meaning earth. viSva meas all/everyone/everything. Earth is "viSvambhari" as she sustains everyone and everything. The derivation appears similar to SAkambhari. sarvambhari is also listed and means "all-supporting".

drshrikaanth · Post by **drshrikaanth** » 25 Oct 2005, 05:20

CML
I am glad you liked bekkasa beragAde. Here are the lyrics

rAga-vamSavati, rUpaka tALa, composition in kannaDa;

bekkasa beragAdenalla |
pELalu bAy toDaritalla ||P||

cokka kauShikESa ninna |
sogayipa cariteyanAlisi ||AP||

akkasadindali lalanege | akShaya maDi ittu porede |
rakkasa vamSava tiNukisi | rAvaNana SiragaLa korede |
bokkasa nIDidare bharadi | poDavi bAnanaLedu merede |
kakkulAti nIgalu SrIkAnta nInu gIte orede ||C||

cmlover · Post by **cmlover** » 25 Oct 2005, 05:42

.. and meaning too.. if you please! (I don't want to guess and misunderstand

)

drshrikaanth · Post by **drshrikaanth** » 25 Oct 2005, 05:54

And the meaning for bekkasa beragAde. I have given a translation in tamizh as well as it is difficult to capture the spirit in English at times.

bekkasa beragu Adenalla- Am I astonished! (miga viyandEn anRO)
pELalu bAyi toDaritalla- I became tongue-tied when I try to explain! (sollap pOnAl vAy aDaindadanRO)

cokka kauShikESa - O handsome Lord of kauShika (ezhilmigu kauShikattu IsanE)
(kauShika is a holy village in Hassan Dt. The Lord lakShmIkESva is the patron deity of the sankEti community. It is also a pancalinga sthala. The name comes from the belief that sage viSvAmitra performed penance here)

ninna sogayipa cariteyanu Alisi- On hearing of your wondrous deeds/nature/disposition (undan sogusAna sarittirattaik kETTu)- I am astonished and tongue-tied!

akkasadindali- With boundless compassion; lalanege- to the beautiful lady;
akShaya maDi ittu porede- You gave limitless/unending cloth/sarry and protected her.
(kaninvuDan nI kArigaikku aLavilAt tugilai aLittuk kAppATRinAy.)
Actually akkasa represents a mixture of compassion, urgency and anxiety (padaTRattuDan kUDiya kanivu)

rakkasa vamSava tiNukisi- You made the race of rAkShasa/demons to suffer;
(arakkar kulattai vATTi vadaittu)
rAvaNana SiragaLa korede- You cut off the 10 head of rAvaNa (irAvaNanin sirangaLait taRittAy)

bokkasa nIDidare- When you were offered the treasury
bharadi poDavi bAnanu aLedu merede- With great pomp and ado you measured the earth and the sky;
(karuvUlattaik kATTinAlO nI adai viTTu ivvulagaiyum vAnaiyumE aLandAy!)
This refers to the bali episode.

kakkulAti nIgalu SrIkAnta nInu gIte orede- O SrIkAnta! To remove of indecision/confusion, you instructed/taught the bhagavadgIta.
(SrIkAntanE! manakkalavarattai nIkka nIyO gItaiyai uraittAy)

viyakkattagu nin magimaiyai ensolvadu!

cmlover · Post by **cmlover** » 25 Oct 2005, 09:00

bravo!
nice lyric. The prasam is very nice and the caraNam has lovely sonant endings(IRRaDi oppu). The ideas flow naturally and each segment can be pantomimed (as a padam in dance). For example the swara flow at 'pELalu bAyi toDaritalla' is consistent with the action depicted. The ragamudra is unobstrusively and meaningfully stitched in. My only complaint is about the lack of madyamakaala saahityam which will go nicely here. Due to the lack of gamakas this meLakarta has to exploit the notes to provide rhythmic beauty. MD does it nicely in bhaktavtsalam. As a note-oriented raga Odeyar also has exploited his WM orientation and there is no shade of kamavardhani or gamanaSrama, thanks to the vivadi swara (D3). It indeed gives the element of required tension for the SOkam and adhbuta rasa that you alluded to.

Now let me wait and see if there is an RTP! That will be interesting.

coolkarni · Post by **coolkarni** » 25 Oct 2005, 09:51

just scrolling back to harikambhodi, i realised that i missed out posting another RTP .BY MDR
http://rapidshare.de/files/6724404/mdr- ... amboji.mp3

coolkarni · Post by **coolkarni** » 25 Oct 2005, 10:05

viswambari
the lone entry by s rajam http://rapidshare.de/files/6724675/VISW ... UPAKAM.MP3
vamSavati.... no tracks with me.

cmlover · Post by **cmlover** » 25 Oct 2005, 10:14

Of course this is the Koteeswara Iyer's kandha gaanaamrithm (72 Mels Ragamalikai)!
Pity there are no other renderings

Raja Chandra · Post by **Raja Chandra** » 25 Oct 2005, 20:40

DRS,

you keep amazing us !

bekkasa beragadevu nAvella
nimma sogayipa cariteyanu Alisi !

keep the good work going ! Congrats.

cmlover · Post by **cmlover** » 25 Oct 2005, 22:12

DRS

Just note that according to raaga lakShaNa of muddu vE^nkaTamahi:
pUrNA vamSavatIrAgaH tu avarOhE dhavarjitaH

drshrikaanth · Post by **drshrikaanth** » 25 Oct 2005, 22:55

Dear CML and Rajachandra
Thanks for the feedback. A composer ges satisfaction when others recognize the thought that has gone into the composition. CML, I am happy that you have noted all those points in my kRti.

CML
Ca you specify what you are pointing out in the lakShaNa SlOka. Is it the "tu"kAra that you are drawing attention to?

cmlover · Post by **cmlover** » 26 Oct 2005, 04:29

DRS

I just pointed out that dhaivatam is varjyam in avarOhaNa in vamSavati according to this definition whereas you have it included. I cannot tell whether you have avoided it in avarOhaNa but I could distinctly hear the vivaadi note that renders a charateristic flair to your composition. I could see some cloeness to hATakaambari (on which also we almost drew a blank!). Perhaps you could discuss a bit on how to distinguish these closely allied ragas where gamakam is not significantly present!

cmlover · Post by **cmlover** » 26 Oct 2005, 04:31

The silence from our other knowledgeable Rasikas is deafening

drshrikaanth · Post by **drshrikaanth** » 27 Oct 2005, 05:32

CML
In my kRti, I sing "SNDN" i.e go back up after descending to dhaivata. This is still in keeping with the scale where dhaivata is eschewed in descent. If I have slipped directlt to P from D in error, forgive the error. hATakAmbari is nothing but the Suddhamadhyama version of viSvambhari. The madhyama will thus be a give-away. The pUrvAnga in jayaSuddhamALavi/hATakAmbari has a distinct mAyAmALavagauLa flavour while in vamSavati/viSvambhari, the flavour is of kAmavardhini. Both the sampUrNa mELas evoke SOka rasa.

Like you, I too am non-plussed by the silence of other viewers of the forum.

srkris · Post by **srkris** » 27 Oct 2005, 05:39

Pls dont by any stretch of the imagination count me in as a knowledgeable raskila, if at all that thought crossed your mind!

coolkarni · Post by **coolkarni** » 27 Oct 2005, 07:49

CML,DRS,SRKris.

There is an amazing story of a nikhil bannerji sitar concert.(Source Listening to Hindusthani Music-Chetan Karanth)

As he approached the final few minutes ,he started playing breathtaking intricate sequences, but even those difficult passages had a rare reposeful ease about them.The audience greeted his fast figures very very enthusiastically with a thunderous clap, which never looked like stopping.
But later Nikhil complained to me that all the work that had led up to that magnificent climax went waste because those last few minutes were drowned in NOISE !!!!.No one heard those passages , which he ,so fondly wished to present ...

SO NOW YOU KNOW THE REASON FOR OUR SILENCE.-we are simply awestruck -

venkatpv · Post by **venkatpv** » 27 Oct 2005, 15:58

DRS,
simply amazing stuff!!!

if i may ask you, how long did it take you to compose this piece??

i wish i knew kannada!! :8

drshrikaanth · Post by **drshrikaanth** » 27 Oct 2005, 16:22

Venkatpv
Thanks. I composed it on 12/05/04. It took me a few hours I guess.

venkatpv · Post by **venkatpv** » 27 Oct 2005, 20:11

few hours!!! :88 i was expecting an answer in days, if not more!!! its indeed a beautiful composition... i have been listening to it every few hours

i have always wondered how long it took MD to compose a shri subramanyaya namaste, or how long it took T to compose a chakkani raja..

cmlover · Post by **cmlover** » 27 Oct 2005, 22:57

DRS

Thanks for the clarification. It always takes time to digest a raga which even if it is not new has only a few compositions. Vamshavati is one such. Hence I applaud your efforts for venturing boldly into an unexplored territory. While I appreciated the lyrical beauty of your composition (in spite of my ignorance of Kannada) in the choice of praasa, yati and syllabifications, I am competent to discuss the flow of ideas. I enjoyed the delicate choice of cokka kauShikESa who is artfully identified with SrIkAnta! In a subtle way you have complimented the village (perhaps your ancestral place) as also the patron deity of the sankEti community (to whom I suppose you belong). Again the choice of the events and the avataara are each awe-inspiring but the coup is in the final line that, it is not these miracles (which will naturally astonish ordinary folks) but the demystification of life itself (the depth of philosophy enshrined in gItA) is the source of 'wonderment' which elevates the soul from mundane to divine. Since our Rasikas are simply exclaiming:
bekkasa beragAdenalla |
pELalu bAy toDaritalla

perhaps, can i offer you a pAmaalai (garland of words0 in the absence of a poomaalai (flower garland)?

uDayaar urai cheitha viththakaa nin
thoDayaal kaLippuRROM yaaM -- viDai chEr
maanthar aruLaalan manaM kavar SRI
KANTHAn inam chEr thakuthiyaal.

(most of you will understand the meaning and I will post it if only there is any request or interest!)

drshrikaanth · Post by **drshrikaanth** » 28 Oct 2005, 05:31

CML, venkatpv
Iam honoured
CML
Here is my amateurish reply.

kO mAlaip pORRi yAm kOmAlai pORRinIr nIr
kOmAlai pORRi yAm kOmAlai idOvOr kOmAlai
pAmAlaikkERRadAm kOmAlai tORRinIr cOr
pUmAlaikkARRadAm Am Alai ugum sAgA mAlai.

Corrections welcome.

cmlover · Post by **cmlover** » 28 Oct 2005, 21:34

DRS

I have some difficulty in your verse.

What is kOmAlai?

drshrikaanth · Post by **drshrikaanth** » 28 Oct 2005, 21:40

I had attempted a ShlESAlankAra on kOmAlai. The 1st one is kO+mAl+ai(iraNDAm vERRumai urubu). i.e kOvAgiya mAl (viShNu). 2nd kOmAlai is yAm kOta/kOkkum mAlai. The same interpretation for 3rd and 4th. The 5th is kO(col,word)+ mAlai.
I am not too clear about viTai Cer in your verse. Could you please explain?

Raja Chandra · Post by **Raja Chandra** » 28 Oct 2005, 22:05

CML,

i can hardly undrstand tamil beyod a smattering of words . Hence i am umable to understand all the hullabaloo !

drs,

I know Sankethi's from Battadapura as most of my relatives come from Bettada Tunga. but are you from the same clan or differrent ? Ignore the question if you so please!

To all my friends at this forum ;

HAPPY DIWALI

cmlover · Post by **cmlover** » 28 Oct 2005, 23:14

OK!

here it is in plain english! Pl excuse the verbosity.

First sense:
uDayaar urai cheitha viththakaa = You the scholar(viththakaa) who put together(cheitha) the meaning(urai) for the verses of Odeyaar
nin thoDayaal kaLippuRROM yaaM = We(yaaM) are delighted(kaLipuRROM) by your(nin) spin (thoDai= weavings)
viDai chEr = with(chEr) proper answers (viDai)or explanations
maanthar aruLaaLan = one who is blessed (aruLaaLan) among men(maanthar)
manaM kavar = ravishing(kavar) the mind (manam)
SRI KANTHAn = of DRS
inam = clan or friendship
chEr thakuthiyaal= (since we are) with (chEr) the competence (thakuthiyaal)

Or in summary

We are delighted by the scholarly interpretations of Odeyar verses by DRS who has all the answers who ravishes the mind and who is blessed among men since we have the competence (to understand) as part of his clan of Rasikas (or friendss)

second sense:
uDayaar urai cheitha viththakaa = You the scholar(viththkaa)who composed (cheitha) pregnant(uDayaar) with meaning (urai)
nin thoDayaal = by your (nin) verse or poem (thoDai = poem)
kaLippuRROM yaaM = We (yaam) are delighted (KaLipuRROM)
viDai chEr = One who is on (chEr) the Rishabha (viDai)
maanthar aruLaaLan = one who blesses (aruLaaLan) humans (maanthar)
manaM kavar = he who stole(kavar) the mind (manam)
SRI KANTHAn = Lord LakshminaarayaNa (reference to the mOhini avataara) (and also punning on DRS (who is the composer))
inam = clan (of worshippers)
chEr thakuthiyaal = belong with (chEr) fitness or competence (thakuthiyaal)

or in summary

We are delighted by the scholarly verse pregnant with meaning on Lord LakshminaaraayaNa who stole the mind (as mOhini) of (Siva) who rides the Rishabha and who blesses mankind, since we have the fitness as his clan of worshippers.

You can also break at SRI interpreting as Sri Vidya (who stole the mind of Siva) and interpret
Kaanthan (as those who are attracted (to devI). That explanation will fit in with the verses by Odeyar.

DRS

Do post the complete meaning of your verse as well for the benefit of our audience!

HAPPY DIWAALI TO ONE AND ALL!

rshankar · Post by **rshankar** » 29 Oct 2005, 00:20

DRS,
I was away for a while, and did not have time to d/l your composition until now! It was great!
CML,
You actually expected us to understand the meanings of the verse you posted? For what it is worth, I am a Madrasi in the exact sense of the word, and my family speaks Tamizh, and I did not understand even a word of that! The same goes for DRS' reply! I think I agree with Kalki when he said sometimes ''shen thamizh" can become "kodunthamizh"! But no hard feelings: I say this more out of the frustrations arising from my own very inadequate knowledge of Indian languages and definitely bow down in admiration and respect to the likes of you and DRS...you guys are amazing: you are fluent in Tamizh, Sanskrit, and Kannada as well in DRS' case! Truly polyglots! DRS should compose in maNipravALam. I am not sure if people have used a combination of tamizh, kannada, and sanskrit for maNipravALam compositions.
Kulkarni sa'ab,
The BMK track with Tyagaraja's comps in tamizh was brilliant! THANKS!
Ravi

drshrikaanth · Post by **drshrikaanth** » 29 Oct 2005, 00:41

Thanks for the meaning CML. Here is the meaning of my verse (kannaDa meaning within brackets)

kO-king/Lord(arasa/oDeya); mAl- viShNu; pORRi-prasing(hogaLi); yAm-we (nAvu); kO- strung/composed (pONisida/heN eda); mAlai-garland/poem (hAra, kavana); pORRinIr- you praised (hogaLidiri); nIr- you;
kOmAlai-strung garland/composed poem; pORRi- praising(hogaLi); yAm- we (nAvu); kOmAlai- strung garland/composed pem; idO- here (igO); Or- one (ondu); kO- word (pada); mAlai- garland/poem;
pA- song , poem (hADu, kabba); mAlaikku- to the garland/poem (hArakke); ERRadAm- fit for (oppuvantaha, takkantaha); kOmAlai- garland of words/poem; tORRinIr- you created/composed; cOr- withering, shrivelling, tiring, dying (bADuva, baLaluva, sAyuva); pU- flower(hUvu); mAlaikku- for the garland; ARRadAm- better than/in excess of(heccinadu, uttamavAdudu); Am- beauty(anda); Alai- sugarcane, sugarcane juice(kabbina hAlu/impu); ugum- gushing(oguva/osaruva); sAgA- deathless (sAyada); mAlai- garland/poem (hAra/kavana).

You praised the garland/poem I strung in praise of the Lord vishNu; in turn, here is garland of words/poem I have strung/composed in praise of your garland/poem; You composed a verse/poem that was a fitting tribute for the song of mine; a garland exceedingly better than a garland of drooping/short-lasting flowers; a deathless verse/garland that effuses both beauty and sweetness!

oDeya hariyannu hogaLi nAvu pONisida hAravannu hogaLi nIvu hAra/kavana-vannu pONisidiri; hAge nIvu kOda hAravanu mecci nAv racisida hAravidO! ondu nuDiya hAra! hADina hArakke oppuvantaha padagaLa hAravannu nIu kOdiri; bADi hOguvantaha hUvina hArakinta atyuttamvAdudu! anda mattu impu sompu pempugaLannu osaruva aLivillada hAra!

drshrikaanth · Post by **drshrikaanth** » 29 Oct 2005, 00:46

Ravi
You have arrived back with a bang. This is clearly reflected in the triplicate reply

(laughing in triplicate too!!!)
Thanks

Raja chandra
I am not a beTTadapura but a kauShika sankEti.

Wish you all a very happy and bright dIpAvaLi.

rshankar · Post by **rshankar** » 29 Oct 2005, 02:24

Deleted duplicate/triplicate post!

coolkarni · Post by **coolkarni** » 29 Oct 2005, 07:50

DRS
Here is a fairly elaborate Vamasavahi-though not at the alapana ..
by semmangudi on AIR.
Used the occasion to be holed up at home on a rain battered day to pluck it out..
http://rapidshare.de/files/6898997/02_B ... i.mp3.html

coolkarni · Post by **coolkarni** » 29 Oct 2005, 07:50

DRS
Here is a fairly elaborate Vamasavati-though not at the alapana ..
by semmangudi on AIR.
Used the occasion to be holed up at home on a rain battered day to pluck it out..
http://rapidshare.de/files/6898997/02_B ... i.mp3.html

Must add that it is a very a rare case of me hearing a raga from living composer first and then from a Performing artist..
(Oh ! for all those wasted opportunities when Thanjavur Sankara Iyer used to call me to hear his new compositions ... feel like kicking myself for not having recorded those sessions )
BTW do you also play the Veena when you sing , or is it just the tanpura ?

indu_kmurthy · Post by **indu_kmurthy** » 29 Oct 2005, 10:46

shrikaanth this is a mothers way of expressing her happiness and fulfilment of giving birth to such an extraordinaryand brilliant son. just now i heard the song in vamshavathi "bekkasa beragaadeno" and also read the appreciation letters following the same. may god bless u with good health and long life. it is really amazing

where u find time to acquire such a vast knowledge in varied subjects. expecting many more compositions of this calibre

srkris · Post by **srkris** » 29 Oct 2005, 15:03

"Eendra pozhudhinum peridhuvakkum than maganai sandron ena ketta thaai"

(Great is the joy of the mother when a child is born to her; but greater is her joy when she hears about him spoken of as a scholar).

Congrats DRS, keep composing!!!

cmlover · Post by **cmlover** » 29 Oct 2005, 18:52

Chembai:

I couldn't have said it better either!

Raja Chandra · Post by **Raja Chandra** » 29 Oct 2005, 23:16

amma namaskAra. bahaLa saMtOSha. idu nammelara suyOga. neevu dhanyarE sari

Raja Chandra · Post by **Raja Chandra** » 29 Oct 2005, 23:24

CML,

sorry for this small digression,

I have a doubt. why do you use the phrase uDayaar instead of oDeyar ? my limited knowledge tells me that connotations are differrent and for many it means the name of a infamous DON. I also rememeber that in some other thread some one denigrating oDeyar's in this regard. We are using the word oDeyar instead of the more common Wodeyar ( wadiyar is the way the family spells their surname), because of transliteration rules.

Raja Chandra · Post by **Raja Chandra** » 29 Oct 2005, 23:25

drshrikaanth · Post by **drshrikaanth** » 30 Oct 2005, 00:07

mum
It is all your blessing and training. Thank you.

Coolkarni
Thanks for the vamSavati piece. That reminds me, I forgot to mention that mandAri is ver close to vamSavati. But for the D3 which is not used too frequently, there is very little difference between the two.
No that is the tamburi in the background. I have dabbled in learning vINe. I hope to play the great instrument some day.

Raja chandra
oDeyaru as you know means Lord/king in kannaDa. People recognize it that way only. Most are not aware of Wadiyar. The tamizh equivalent of oDeyaru is uDaiyAr and hence CML`s usage. Quite apt that one.

cmlover · Post by **cmlover** » 30 Oct 2005, 04:07

RC

In Tamizh the generic term uDayAr means those who have material wealth. In fact there is a community in TamilnaaD called uDayaar who are zamindaars. Also I have seen inprint in Tamil Mysore Royalty referred as uDayaar only. I wonder whether the town uDayaar paaLayaM in TN has any connection (historically) with Mysore Royalty!

DRS

vayasya! alaM antaraayaH | SrUyatAM ||

cmlover · Post by **cmlover** » 30 Oct 2005, 04:15

mandAri is ver close to vamSavati. But for the D3 which is not used too frequently, there is very little difference between the two.

That is extremely interesting. Perhaps coolkarni/badri may post Thyagaraja's paralOkabhaya (perhaps SSI?) so that we can get a feel!

drshrikaanth · Post by **drshrikaanth** » 30 Oct 2005, 04:57

RC

In Tamizh the generic term uDayAr means those who have material wealth. In fact there is a community in TamilnaaD called uDayaar who are zamindaars. Also I have seen inprint in Tamil Mysore Royalty referred as uDayaar only. I wonder whether the town uDayaar paaLayaM in TN has any connection (historically) with Mysore Royalty!

DRS

vayasya! alaM antaraayaH | SrUyatAM ||

oDeya/oDeyaru in kannaDa is formed in exactly the same way as uDaiyAr in tamizh and has the same connotations of "possessor"/"owner" usually of land, material. By extension it means yajamAna/Lord/king.

Can you clarify your sanskrit statement? Have you said that with reference to vamSavati and mandAri?

drshrikaanth · Post by **drshrikaanth** » 30 Oct 2005, 05:03

ninnu jeppa kAraNamEmi of paTNam Subrahmanya Iyer and the varNa "vanajAkSha" by Mysore Vasudevacar are also famous. There are fo course other compositions as well.

Coolkarni
Please also post RTP or elaborate rendering of amRtavarShiNi.