Jayachamaraja Odeyar (Mysore Maharajah) - Part I

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:26

coolkarni

Continuing our discussions in a different thread, i will upload tracks from AIR bangalore relays. I must thank my friend Karthik Krishnaswamy for the painstaking effort in compiling these.

There are 56 in all and i start with the first in Chakravakam. Each track has a brief introduction to the kriti as well as the raga,then the lyrics and lastly the rendering

http://rapidshare.de/files/3617205/Chak ... i.mp3.html

meena · Post by **meena** » 04 Nov 2005, 13:27

meena

kulkarniji thanku!

DRS
i do not have the lyrics for this one, can u pl. help:
dEvi shree meenAkShi /rAga:chakravAka /tALa: KanDa tripuTa . thanku

Lakshman · Post by **Lakshman** » 04 Nov 2005, 13:28

Lakshman

This is one of the songs for which I did not have the text and I wrote the words down by listening. Thete

may be a couple of minor errors.

dEvi shrI mInAkSi. rAgA: cakravAka. k/tripuTa tALA.

P: dEvi shrI mInAkSi mAm pAhi dEvAdi vinutE tava pAda bhaktim dEhi
A: shivE shrI vidyE sundarakAyE bhAvibhUta prapanca shrSTikArya svadEha nilayE mahAmAyE
C: trikONa madhyagata panta brahmAditE sUryAtIta paramapada shObhitE vaibhavE
lOkAbhi graha nakSatra mAlA shObhitE vyAghra rAjya vasAditE

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:28

drshrikaanth

kulkarni
this thread will run very long I assure you.
The introduction is very good and sounds even better in sweet, chaste kannaDa. There is a minor error though- she mentions

SyAmA SAstri as having composed on bangAru mInAkShi. We all know it is bangAru kAmAkShi although he has composed

sevreal lovely kRtis on mInAkShi as well.
The singers ar R.K.Padmanabha and D.V .NAgaraja.
RKP introduces the rAga and the kRti sAhitya initially.

Here is the sAhitya
dEvi shrI mInAkShi. rAgA: cakravAka. khaNDa tripuTa tALA.

P: dEvi SrI mInAkShi mAm pAhi dEvAdi vinutE tava pAda bhaktim dEhi
A: shivE SrI vidyE sundarakAyE
bhAvIbhUta prapanca sRShTikArya svadEha nilayE mahAmAyE |
C: trikONa madhyagata panca brahmasthitE
sUryAtIta paramapada shObhitE vaibhavE
Sakra SacI sampUjitE SailasutE
cakravAka dhvani ghOShitE dayAnidhE
SukrAdi graha nakShatra mAlA SObhitE jAgradAdyavasthAtItE ||

Will post meaning etc later (nanna SaktyanusAra aLilu sEve mADuve aShTe)

Lakshman · Post by **Lakshman** » 04 Nov 2005, 13:28

Lakshman

Thanks Dr.Shrikaanth for the corrections.

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:29

coolkarni

lakshmanji
drsrikaanth.

thanks.after you finish your analysis for each one, i will put up the next one.

meena · Post by **meena** » 04 Nov 2005, 13:29

meena

Lji/DRS thanku

rshankar · Post by **rshankar** » 04 Nov 2005, 13:29

rshankar

That was GREAT! The intro in Kannada made me realize that I still have not forgotten what little I learnt of the language living in Surathkal many years ago. I do have a question for Kulkarni Sa'ab, DRS etc: is it a dharu varNam or dhAru varNam?
Thanks.
Ravi

Lakshman · Post by **Lakshman** » 04 Nov 2005, 13:30

Lakshman

It is neither. It is daru varNam.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:30

drshrikaanth

Meaning
P: dEvi SrI mInAkShi mAm pAhi- protect me O dEvi mInAkShi;
dEvAdi vinutE tava pAda bhaktim dEhi - give me devotion to Your feet, O One worshipped by Gods et al.

A: SivE (can mean Consort of Lord Siva or one who is auspicious/good ); SrIvidyE -. SrIvidyA personified; sundarakaye- O

Lady with beautiful/comely form/body
bhAvIbhUta prapanca sRShTikArya svadEha nilayE- One who is the residence of the universe created by Her own mere thought?
mahAmAyE-illusion blinding everyone
C: trikONa madhyagata panca brahmasthitE -O Lady seated on 5 brahmas within the triangle.
This refers to the SrIcakra. SrI lalitA is seated on sivakAmEsvara`s lap on a seat made of 5 brahmas within the triangle in

centre of SrIcakra-this is the bindusthAna. (posting further meaning of this and link in sangeetham thread in next post)
sUryAtIta paramapada shObhitE vaibhavE -One Whose famed feet are more resplendent than evn the sun (here resplendence is not explicitly mentioned asbhA/prabhA/tEjas etc but is implied. It cannot be taken as Her feet being hotter than the sun!)
Sakra SacI sampUjitE- One worshipped by indra and his wife SacI SailasutE -daughter of the mountain.
cakravAka dhvani ghOShitE- One sounding the(or sounding in the) voice of the cakravAka bird (this seems a rather unsatisfactory explanation to me. it could simply be referring to the rAga and describing her sounding in cakravAka. Anybody else has a better explanation?)
dayAnidhE- reservoir of compassion/benefaction
SukrAdi graha nakShatra mAlA SObhitE- One adorned by a garland of sukra (vnenus) & other planets and stars
jAgradAdyavasthAtItE- jAgrat+Adi vyavasthA+ atItE
One beyond the 3 states/avasthAtraya viz jAgrat(wakefullness), svapnA(sleep, dreaming), suShupti (deep sleep/unconsciousness)

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:32

drshrikaanth

Heres the relevant bit from the sangeetham tread regarding pancabrahma
The whole jagat/prapanca/universe and all of creation is due to the union/aikya of SivakAmESvara/sadASiva and Sakti(SrIrAjarAjESvari/ mahAtripurasundari). The 2 are insepearble- perhaps this is where "advaita" comes-being 2 yet not 2.

One could recall kALidAsa`s description in kumArasambhava of sadASiva and Sakti as akin to vAk and artha i.e the word and its meaning. In fact sadASiva is jaDa and Sakti is cEtana or the kinetic energy. She is the One that drives sadASiva to action(as all women

). {yin and yang)
In SrIvidya rudra, ISAna, Siva, paramaSiva, sadASiva(SivakAmESvara) are all different.
Here is the SlOka-8 from the saundarya lahari
sudhAsindhOrmadhyE sura viTapi vATI parivRtE
maNidvIpE nIpOpavanavati cintAmaNigRhE
SivAkArE mancEbparamaSiva paryankanilayAm
bhajanti tvAm dhanyAh katicana cidAnandalaharIM ||

Recall also the laitAsahasranAma- pancabrahmAsanasthitA, pancaprEtAsanAsInA
And the classic 9th navAvaraNa of dIkSitar in Ahiri
"SrIpura bindu madhyastha cintAmaNi mandirastha SivAkAra mancasthita SivakAmESAnkasthA"

lalitA tripurasundarI is described as ever a 16-yr old seated on the lap of sadASiva/SivakAmESvara who is atop a mattress-paramaSiva placed over a plank/board-Siva that is resting on 4 legs, namely brahma, viShNu, rudra, ISAna.
These 4 respectively represent the pancakAryas- sRShTi-creation, sthiti-preservation, laya-destruction, tirOdhAna-cocealment, while anugraha-benevolence is represented by Siva. I do not know what paramaSiva represents. He is considered a witness to everything. These 5 are slaves to lalitA and only act according to the will of lalitA and hence are called prEtas. sadASiva/SivakAmESvara is on an equal footing with laliTa.

heres the link to the thread on sangeetham

http://sangeetham.com/bboard/quest.php3 ... 3&qid=7367

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:33

coolkarni

this thread will run very long I assure you.

drsrikaanth.
if the first track itself was any indication, the thread will be a golden one

rshankar · Post by **rshankar** » 04 Nov 2005, 13:33

rshankar

In the introduction to this krithi, the announcer states that syAmA sAstrI's kula dheivam was bangAru mInAkshI....I thought it was bangAru kAmAkshI. In fact, I am not sure if there exists a bangAru mInAkshI...
Comments?
Ravi

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:33

coolkarni

rshankar
drsrikaanth has addressed this issue in his first post .

rshankar · Post by **rshankar** » 04 Nov 2005, 13:34

rshankar

Sorry! That is what happens when I skim instead of read!
Ravi

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:34

drshrikaanth

a few things about HHJC oDeyar.

He was well versed with western music(learnt it at Trinity College, London I think). His penchant for western music is clear from his compositions in the choice of his rAgas(particularly the rare new ones he has used) and also the sancAras. His guru for karNATaka sangIta was Mysore vasudEvAcAryaru. It is said that Vasudevacharyaru was the one who guided him in compsoing too. He alse got some guidance from cennakESavayya and tiTTe kRSNaayyangAr. In fact it was SrI Chennakesavaiah who notated his krtis and published it at his own cost around the time oDeyar passed away.

oDeyar has only composed only in samskRta and was influenced by SrI muttuswAmi dIkShitar`s style. His command over the language is obvious in his kRtis. Personally I feel there is a lot of difference in his style and dIksihitar`s style. The use of language is different. Also he does not follow rules of prosody strictly. Of course bothhave a stately pace in them but the flow of sAhitya is different. oDeyaru distributes the sahitya/mAtu in such a way that it sometimes can look cluttered. But this may have been deliberate to bring out a contast as in madhyamakAla sAhitya.. He of course uses madhyamakAla sAhitya and ciTTe swara in many of his kRtis just like dIkShitar.

He was also a SrIvidya upAsaka . Majority of his kRtis are on dEvi but there are a good number on other deities as well.

As a rule, he does not conform strictly to rules of prosody in that one will not find AdiprAsa or yati all the time. Perhaps he chose to compose in the way odf sanskrit literatre wher AdiprAsa and yati are not important.

There is usually a profusion of words in his kRtis.

He is credited with composing 94 kRtis in common and rare rAgas and in several rAre tALas wiithin the suLAdi tALa scheme itslef. (he has not composed in aShtOttara tALas etc AFAIK). His mudre is SrIvidyA and sometimes nAgalinga which was his guru`s name. Almost all is kRtis contain the rAga name woven into the sAhitya.

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:34

coolkarni

http://rapidshare.de/files/3709634/Dhen ... i.mp3.html
(53 left)i can make out rk srikantan here.

drsrikaanth.pl advise me when you are ready for the next krithi.i can understand that each krithi takes a lot of effort out of you.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:34

drshrikaanth

In this kRti, the handling of cakravAka rAga is different.there is a strong saurAShTra chAye in it. you might have noticed that the beginniing is very much like MD`s "sUryamUrtE". The similarities in dhAtu to this song are evident throughout. The gamkas used and cmmoner presence of M and R(with a mild oscillation) go in favour of saurAShTra.So also the use of N. P ad D are usually more common in cakravAka. Also D in cakravAka I think has a shake towards N while in surAShTra it is towards P.
saurAShTra is a dignified, stately rAga with a sombre mood and suited for karuNA/dainya and somewhat SOka rasa.

CakravAka is a lighter rAga with a hAsya rasa(owing to pancama-oriented phases). This is clear in the bhAva of the 2 kRtis of tyAgarAja- suguNamlE and eTula brOtuvO.
But in this kRti of oDeyar`s the bhAva is clearly bhakti and sombre- very little hint of parihAsa here. The cakravAka rAgabhAva is obvious in the dhAtu for the line "cakravAka dhvani ghOShitE"- "S*R*G*R*G*-G*M*G*R*S*--ND_DMDMG---"
There is something in sAhitya that has me nonplussed somehwhat- the line "SukrAdi graha naKshatra". Why did he chose to start with Sukra (venus)? and not with sOma according to Indian tradition or budha(mercury) according toModern/western tradition? Also Sukra is the preceptor/guru for asuras!Is there any particular reason? Is there a sthalapurANa connected with madhure mInAKShi`s garland? Is it anything to do with SrIvidyA? The woed does fit prAsa with cakra,Sakra but the prAsa is not followed regularly when one relates it to the earlier part of the caraNa. Anybody has any ideas here?
Also I am wondering if in the anupallavi it should be svagEhanilayE rather than svadEha.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:35

drshrikaanth

No hurry coolkarni. Im waiting for others to say something about cakravka yet. I dont want this to be onesided. Also there are more than 54 kRtis that were aired by the AIR. I myself have 58 on cassettes. My mom could not record a few in the beginning. I am still waiting for that email of yours(since a few weeks). I dont know how to transfer it to PC yet.
Raja Chandra did a wonderful job of transliterating nearly all of oDeyar`s kRtis to English on Forumhub. Here s the link for the thread.

http://www.forumhub.com/indcmusic/15520.19.35.58.html

Keep clicking on "old posts" at top to read the whole thread.
One of us could still post the sAhitya for relevant kRti when it is posted for discusiion by coolkarni.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:35

drshrikaanth

You are right coolkarni. it is undoubtedly the inimitable R.K.Srikantan supported by his son, R.S.Ramakant.
sAhtiya
rAga- dhEnuka, tALa- triSra jhampe
P: cintayAmi santatam mUlaprakRti svarUpAm

AP: cit tattva cintAmaNIm cidagnikuNDA sambhUtAm.
cintitArtha phalapradAm cittajAri santOShitAm
citprakASAnandakara SrIvidyAsvarUpAM
citSaktyAvirbhUtAm icchAkriyAm j~nAnAtmikAm (madhyamakAla hence underlined)

C: mahAmAyAm AryAm madhumada mOditahRdayAm
sahasrasUrya samaprabhAm sahasrAkShAdi vinutAm
guhagaNAdi samsEvitAm gamanAgamanavarjitAm
mahAmahimOpEtAM mahIpAla pUjitAm
mahAdaitya hAhAkAra samayE krUra mahiSha SiracchEdanakara caritrAm kAmadhEnukAtiSayitAm

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:35

drshrikaanth

Some relevant bits fro the forumhub thread regardin oDeyar.
Maharaja Jaya Chama Raja Wadiyar
A brief sketch of the last king of the Princely State of Mysore (I940-50). Philosopher, Musicologist, Political thinker and Philanthropist.
Born on 18- 7-1919. Only son of Yuvaraja Kanteerava Narasimharaja Wadiyar and Yuvarani Kempu Cheluvajammanni.
Graduated from Maharaja's College, Mysore in 1938 bagging five awards and gold medals. Toured Europe for the first time in 1939; visited many associations in London and got acquainted with many artists and scholars.
He ascended the throne of Mysore on 8th September 1940 after the demise of his uncle Maharaja Nalvadi Krishnaraja Wadiyar. He signed the instrument of accession with the Indian dominion on the eve of Independence. Mysore Kingdom merged with the Indian Republic on 26-1-1950. He was Raj Pramukh of Mysore State during 1950-56. After the integration of the Mysore State with the neighboring Kannada speaking parts of Madras and Hyderabad States, he became the first governor of the integrated Mysore State (now Kamataka) from 1956-65 and later became the Governor of the Madras State (now Tamil Nadu) from 1964-67. He died on 23-9-1974.
He was a good horse-rider and a tennis player. He helped Mr. Krishnan to participate at Wimbledon. He was a great lover of music and literature. He had a special interest in Western music also. He helped the Western world discover the music of an unknown Russian composer Nikolai MEDTNER (1880-1951) and financed the complete recordings of his compositions and founded the Medtner Society in 1949.
He had such great musicians adorning his Court like the Mysore Vasudevacharya, Veena Venkata Giriyappa, B.Devendrappa, V. Doreswamy iyengar, T.Chwodiah and many others.
He was a Shrre Vidya Upasaka and composed 94 Carnatic Kruti?s under the name Shree Vidya.
He has written many valuable books: the important ones being:- " The Quest for Peace: an Indian Approach, U. Of Minnesota, Minneapolis 1959; Dattatreya: the Way and the Goal, Allen and Unwin, London 1957; The Gita and Indian Culture, Orient Longmans, Bombay, 1963; Religion and Man, Bombay, Orient Longmans, 1965; Avadhuta: Reason and Reverence, Bangalore, Indian Institute of World Culture, 1958; An Aspect of Indian Aesthetics, U. Of Madras, 1956; "Puranas as the vehicles of India's philosophy of history", in a journal called Purana, issue 5, 1963; "Advaita philosophy", published in Srngeri Souvenir Volume, 1965, pages 62-64; "Sri Suresvaracharya", Srngeri Souvenir Volume, Srirangam 1970, pages 1-8. Besides he has published many classics from Sanskrit to Kannada under Jayachamaraja Grantha Mala including Rigveda (35 parts).
He was the recipient of D.Lit from Queensland University, Australia, Doctor of Law from Banaras University, and D. Lit from Annamalai University. He was a Licentiate of Guild Hall of Music, London and honorary Fellow of Trinity College of Music, London, in the year 1945. The British government honored him with GCSI in 1945 and GCB in 1946.

****
mahArAja was an acknowledged exponent of western classical music. he was an accomplished piano player. he came out with flying colors in his exam and was accorded licentiate of guild hall of music; london, at a young age of 18 years in the year 1937. he became honorary fellow of trinity college of music; london in 1945. it is this confluence of western and carnatic classical music you will find in some of his compositions like rAga shaMkarAbharaNa( nAgaliMga ahEshvaraM) and its many variations like haMsavinOdini, kOkilabhAShini(shree vidyA mOdini), doorvAMki (gaM gaNapatE namastE), suranaMdini (suranaMdinIM). all of which are influenced by c-major scale of western classical music.

cmlover · Post by **cmlover** » 04 Nov 2005, 13:36

cmlover

Thanks DRS for the enlightening Biography of the late Mysore Maharaja. Never realized that he was so accomplished. Could you also narrate interesting (music related) anecdotes regarding him? Is there a surviving Royalty who are musically active?

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:36

drshrikaanth

CML just the person I thought of. Could you pen your thoughts on the sAhitya and artha?
The surviving royalty (Srikanta datta wodeyar) is politically active not musically AFAIK.

There is an anecdote about T. N.Rajarathnam Pillai losing his chance to sing before the mahArAja because of his quirky and quixotic ego. He had seen the mahArAja on howdah. He demanded to be perched on a caparisoned elephant as he was no less than any mahArAja. oDeyar overheard this and TNR lost the oppurunity and never got it again

srkris · Post by **srkris** » 04 Nov 2005, 13:36

srkris

Oh that was a great job Shri DRS. I was mostly ignorant of the Maharaja till I read this biography.

meena · Post by **meena** » 04 Nov 2005, 13:37

meena

for those interested -the forumhub thread on shree Wodeyar has lot of info.

i'm still in touch with rajachandraji, maybe i should alert him regarding this thread.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:37

drshrikaanth

Meena
Do Alert Rajachandra about the thread. It will be nice to have him here. For those of you who want to read the forumhub thread, I have already given the URL.

Meaning of the dhEnuka kRti is as follows. This is kRti on mahiShAsuramardini, SrI cAmuNDESvari. It is a tough nut to crack/kabbiNada kaDale.
P: cintayAmi santatam mUlaprakRti svarUpAm
I ever dwell upon Her Who is in the form of mUlaprakRti (from which everything originates)

AP: cit tattva cintAmaNIm - Ever the Giver of cit (j~nAna, knowledge)(cintAmaNi is a stone/gem that gives one everything they desire); cidagnikuNDA sambhUtAm -This is the 4th nAma in lalitA saharanAma..
cintitArtha phalapradAm- the Giver of all desired things
cittajAri santOShitAm -She who gives happiness to the enemy of kAma/Cupid i.e ISvara
citprakASAnandakara- She who derives pleasure from enlightening the cit/though (cit is not the same as manas/mind)
SrIvidyAsvarUpAM -One Who is in the form of SrIvidyA
citSaktyAvirbhUtAm- One Who becomes manifest in cit
icchAkriyAm- She Who is Desire/want& action
j~nAnAtmikAm- One who is the soul of all knowledge (there are 3 types of Sakti- icchA, j~nAna, kriyA)

C: mahAmAyAm AryAm
madhumada mOditahRdayAm - Who derives pleasure from madhumada- atype of intoxicating drink (Note mAdhvIpana lAlasE? in lalitA sahsranAma and also similarity in words with MD`s mInAkShi mE mudam)
sahasrasUrya samaprabhAm - She Who is as resplendent as a crore suns.
sahasrAkShAdi vinutAm- worshipped by the thousand-eyed indra et al
guhagaNAdi samsEvitAm-served by ShaNmukha and his associates gamanAgamanavarjitAm- Who is devoid of movemnt/nonmovement?
mahAmahimOpEtAM- She Who is full of greatest of greatness
mahIpAla pUjitAm _Who is worshipped by kings(This could be a reference to Mysore rulers)
mahAdaitya hAhAkAra samayE krUra mahiSha SiracchEdanakara caritrAm _She Who is credited with beheading the cruel mahShAsura at the time when other daityas/asuras were roaring/screaming with glee all round (with sound of hahAkAra)
kAmadhEnukAtiSayitAm- Who is more than the kAmadhEnu in giving all desired things.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:37

drshrikaanth

This kRti is full of references to lalitA sahasranAma.
She is called icchASakti-j~nAnaSakti- kriySakti svarUpiNi
Mula-vigraha-rupini
SrIvidyA
madhuprItA(Sorry I could not find mAdhvIpAnalAlasE)That sounds very familiar though)
etc apart from what I have already mentioned in previous post. There are many more. The kRti emphasizes on cit among sat-cit-Ananda.
Also note indra and Shamukha are both among the foremost of SrIvidyA upAsakas.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:38

drshrikaanth

This is a lovely kRti. The rAga dhEnuka has been portrayed very well. Also the rAgamudre as been skillfully woven into the sAhitya.

The rAga has been used to portray both bhakti and adbhuta rasa by oDeyar in this kRti. I particularly liked the line in madhyamakAla
"mahAdaitya hAhAkAra samayE". The dhAtu for this part - "SS,M,M D,M,G,DMGM," is very nice and brings out a mood of hurry, adbhuta and a combat mood too. Too good. The kRti is very crisp in its pace and can be a very good concert piece.Thanks to this kRti and oDeyaru, I was blessed enough read the lalitAsahasranAma again todaya fter a long hiatus.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:38

drshrikaanth

Yes I found "mAdhvIpAnAlasA"-575th nAma in lalita sahasranAma

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:38

drshrikaanth

Anybody coming up with an comments or thoughts? Or shall we ask cookarni to post the next kRti?

cmlover · Post by **cmlover** » 04 Nov 2005, 13:44

cmlover

DRS

This is a highly scholarly area of Sri Vidya. Not being an initiate I would not venture to comment with my generic knowledge of Sanskrit and Puranas. I am sure each word has been chosen with care and even there is special significance for the choice of the ragas. I am fascinated by your interpretation and would also like to see the interpretation from the Sri Vidya perspective. If you perrmit, I will add generically but would be embarassed if I make a faux pas due to my ignorance of the subject. it will be nice if you can provide a historical perspective for this compositions and any related sri vidya citations. It will be nice to continue the songs step by step with interpretations and discussions leading to a grand finale on Vijaya Dashami! I am sure meena will help us in finding references and coolkarni will handle the musical score. Chembai may project this thread as a navaratri special so that more interested folks my read, participate and benefit.

You are opening a whole neww gateway (apart from MD, OVK whose kritis on navavarna are popular) to this 56 varnamala which is a musical ragmala too!

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:45

drshrikaanth

CML

I know I have jumped at the deep end.But now that I have plunged, I have no choice but to try and keep afloat and if possible, to swim and reach the shore. Do post your thoughts.
It reminds of kESirAja's words where he humbly requests all well-wishing readers to kindly bear with any errors he might have made and to correct him. kESirAja is the author of "SabdamaNidarpaNam", the first extant kannaDa grammar written in kannaDa in 13thC CE.

Heres a kanda padya (in the sankEti language) I had penned 6 yrs ago reflecting the same sentiment-

pherivADe kRtihaLaNNU
aritahuDi prAsayati niyamu ariviccE |
orukAlangAnume nA
araDiye indAkenna aDutu salahidI ||

coolkarni
can we have the next kRti please?

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:45

coolkarni

http://rapidshare.de/files/3729181/Nada ... m.mp3.html

52 to go

cmlover · Post by **cmlover** » 04 Nov 2005, 13:45

cmlover

I thought the total was 56!

cmlover · Post by **cmlover** » 04 Nov 2005, 13:46

cmlover

DRS

could you translate that sankEti shloka? I want to understand fully.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:46

drshrikaanth

CML
here is the meaning
pherivADe- Of senior people/elder, great souls; kRtihaLaNNU-From the kRtis ;
aritahuDi- as understood; prAsayati-prAsa and yati; niyamu-rules; ariviccE- I have explained; orukAlu- if at all; angAnume-somewher; nA-I; araDiye indAka- have stumbled; enna-me; aDutu -lift up;salahidI- and protect/rescue.

From whatever I have understood from compositions of seniors/elders great men, I have explained the rules of prosody (prAsa,yati). If by any chance I have stumbled/slipped or erred, please lift me up and protect me/ rescue me.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:46

drshrikaanth

Here is the sAhitya for the kRti. This has been rendered by M.S.Sheela.

rAga: nAdabrahma ; Adi tALa

P: SrI vidyAm lalitAm praNamAmi |
Sritajana kalpalatAm SubhacaritAm ||

AP: sarva sampatpradAm bRhadAnandAm |
sarvalOka pUjita padAm Sarva hRtsukha pradAm kaivalyadAm ||

C: ISAdi veerAvaLi panca brahma mayIm ||
IkAra rUpa suSobhita SivamayIm ||
ISAna sarvavidyA svarUpa yutAM ||
ISa sEvA niratAm darahAsayutAm ||
vISavAha sahOdarIm nAdabrahmavaSankarIm SankarIm ||

cmlover · Post by **cmlover** » 04 Nov 2005, 13:46

cmlover

Lakshman
Is there more information available on Raga naadabrahmam? It does sound close to vaacaspati. It is really a lovely raga!

DRS
I will wait for you to present the meanings before commenting. Thanks for that nice sankEti shloka pregnant with meaning!

Chembai
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

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:47

drshrikaanth

oDeyars` command over samskRta is evident in this kRti. I wa stymied for a while by one word- vISa.

But let me not speak out of turn.

P: SrI vidyAm lalitAm praNamAmi- I bow to lalitA, SrIvidyA.
Sritajana kalpalatAm SubhacaritAm- to Her who is the celestial tree (kalpavRkSha that bestows all that is desired) to those that seek refuge in Her; Her with an auspicious and good character/Story.

AP: sarva sampatpradAm- She Who bestows all riches; bRhadAnandAm- Who is unbounded happiness ; sarvalOka pUjita padAm - She Whose feet are worshipped by all the worlds; Sarva hRtsukha pradAm- She Who causes happiness/beatitude/comfort to Lord Siva`s heart; kaivalyadAm -Who gives salvation (detachment from all worldly ties)

C: ISAdi veerAvaLi panca brahma mayIm-note pancabrahmasvarUpiNI in lalitA sahasranAma , ISAnAdi brahmamayI in lalitA

triSati.
IkAra rUpa suSobhita SivamayIm - She Who is shines in the form of IkAra and is full of auspiciousness/propitiousnss/grace/benevolence.
Siva has a many meanings all relating to goodness.

Note IkAra relates to lakShmI. The lakShmi aspect/auspiciousness/ magaLa is emphasized here.

IkArarUpA in lalitA triSati
Also in SrI sUkta, we have
"tAm lakSmIm Im SaraNam aham prapadyE" referring to lakShmi.

ISAna sarvavidyA svarUpa yutAM - She Who has the form of all the mighty vidyAs/knowledge/arts in Her possession.
Sivaj~nAnapradAyini in sahasranAma

ISa sEvA niratAm-She Who is ever immersed in the service of ISa. (note the pun here. The service could be either way )
SivArAdhyA in sahasranAma

darahAsayutAm- She Who displays a wee smile.
vISavAha sahOdarIm- sister of Him Who has the king of the skies as His vehicle.
vISa is vi+ISa i.e king of the skies viz garuDa. Recall vinAyaka turagArUDham" in MD`s SrIvEnkaTa girISam
nAdabrahmavaSankarIm- She Who captures/is captured by nAdabrahma. SankarIm - She that pacifies and does good.

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:47

drshrikaanth

CML
You have a lot of stuff in you. It is great to hear some of your posts where you explain meanings of some samskRta words and quote from various texts not to metion your extempore poetry.

nAdabrahma is a upAnga vakra auDava-ShAdava janya of the 64th mELa vAcaspati
Scale is thus SPM2PD2N2S* | S*NDPMG3S ||
Sheela mentions this in her talk before the song.
The sanagtis of the pallavi are very catchy. But I could hear "GS(G)PMP" in the first sangati of the pallavi itself. Be that as i may, the svarUpaof the rAga (the scale) is shown in the pallavi itself in the very first sangati.
The sangati for vISavAhasahOdarIm "SN.SPMPND,NS*" conveys the swiftness of garuDa while the dhAtu for SankarIm comes down and rests in ShaDja as if everythink is settling down to a calm and peace (Samana).

The rAga has a lilting melody and can be easily sung despite the vakra prayOga in the arOhaNa which encompasses a wide jump. But S and P both being stable notes and being vAdi-samvAdi , the jump is easily made. By its very structure, it is a uttarAngapradhAna rAga. Note that one can sing SGS as GS would be avarOhaNa prayOga. This is no new thing but often gets overlooked and some get confused aboyt such usages.
I feel the rAga is gAnarasapradhAna with a bright mood to it. There is a undercurrent of bhakti but certainly no strong emotions evoked despite the S-P jump.

cmlover · Post by **cmlover** » 04 Nov 2005, 13:48

cmlover

Splendid and comprehensive!
Wodeyar is indeed a master linguist! I too was stumped by 'vIsha' and your interpretation fits like a glove.

I wish to add that
Sarva hRtsukha pradAm may mean that she presents all the pleasures the heart desires; but your interpretation (of shiva = sarva) is more poetic.
According to Tripurasiddhaanta,Mahaa Maayaa becomes Brahma, Vishnu, Rudra,Ishvara and sadaashiva which are the five forms of Brahman.

I would like you to interpret darahAsayutAm (does it mean one with a little smile (punchirippu)?)As I was writing your edit appeared! It will also mean one with a tearing (splitting) smile as the destructive kALI.( I thought whether it was 'dhara' instead which will also fit here as a bahuvrIhi compound!)

It is a magnificent composition both in meaning and music! Thanks!

I am relishing both!

I feel the rAga is gAnarasapradhAna with a bright mood to it. There is a undercurrent of bhakti but certainly no strong emotions evoked despite the S-P jump.

It is a easy raga to master with simple powerful melodic phrases. I would like to see an aalaapana! can coolkarni oblige?

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:49

drshrikaanth

darahAsa is indeed puncirippu/nasunage. Here the alternative interpretation would not fit as benevolent aspcet f dEvi is portrayed her. Also darahAsa in thi sense is khyAta rUpa and is quite common in musical parlance (darahAsayuta mukhAmburuhE in MD`s SrIsaravatI) Sarva is shiva (Note SarvANi as wife if Sarva) while sarva is all/everything/everyone.

srkris
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.

cookarni
Next one please. Others can always add comments whenever they feel like it.

meena · Post by **meena** » 04 Nov 2005, 13:49

meena

DRS

heard from rajachandraji, he is extremely grateful to you, for the kind words you have mentioned on this site. At present he is very busy with his work, but has promised that he would pick up the thread at some point in time. here is an article clip he sent:
d/l link:

http://rapidshare.de/files/3756506/jcrwbd1.pdf.html

meena · Post by **meena** » 04 Nov 2005, 13:50

meena

DRS

can u pl. also provide the meaning for the previous 4 kritis that were u/l on 'tribute to All India Radio' thread:
http://www.freepgs.com/carnatic/viewtopic.php?t=36

meena · Post by **meena** » 04 Nov 2005, 13:50

meena

hope to make it easy for kulkarniji, shall u/l few kritis that i have in my collections:

Hathakeswaram_Bhaje-Hathakambari

Your Download-Link:

http://rapidshare.de/files/3757229/Hath ... i.mp3.html

cmlover · Post by **cmlover** » 04 Nov 2005, 13:50

cmlover

DRS

just wanted to add

vISavAha = viSati ca vAhati = one who enters and bears viz., viShnu.
meaning He enterrs the (human body) and maintains it.
You may compare viSatEti viShnu from viShnu saharanaama.

Let us move on..

drshrikaanth · Post by **drshrikaanth** » 04 Nov 2005, 13:50

drshrikaanth

meena
Thanks for informing rajachandra and also for providing the nice article.
is it from the Deccan Herald?

Here is another link to an article on Wodeyars` contribution to music.

http://www.deccanherald.com/deccanheral ... 4/fac2.asp

I know of at least 2 PhD theses have been written on his compositions- one by Vidushi Smt.Sukanya Prabhakar and another by Meera Rajaram.
The "kannaDa pustaka prAdhikAra" (kannaDa book authority) has also published a book on the the contribution of Mysore rulers to music.

The contribution of Mysore to karNATaka sangIta has been immense. In fact tanjAvUr only occupies the pride of place because of the trinity having lived there. But for them, one could not have made a choice between the two with any confidence.

coolkarni · Post by **coolkarni** » 04 Nov 2005, 13:51

coolkarni

the next one
http://rapidshare.de/files/3757842/Bhog ... i.mp3.html
cml.51 to go.
i am checking out on the totals.(the bhairavam bhavaye i uploaded earlier has created some problems with the totals...)

meena · Post by **meena** » 04 Nov 2005, 13:51

meena

DRS

Sorry i do not know if the clipings are from deccan herald.

thanku for the link.

PPNji has posted sree HH wodeyars comp. list on:

http://forumhub.com/indcmusic/28912.27904.20.28.17.html

meena · Post by **meena** » 04 Nov 2005, 13:51

meena

kulkarniji

i u/l - Hathakeswaram_Bhaje-Hathakambari

so u have 50 to go