DIKSHITHAR KRITIS ON LORD SIVA BY GAYATHRI GIRISH-KGS

[CRama]

The above thematic concert with Multi Media Presentation was held in the Mini Hall of Krishna Gana Sabha on 21 Dec 2013 at 9.30 AM. I attended the programme and I am happy to present a report for the benefit of the rasikas.

Gayathri commenced the concert with a reference to Kaivalya Upanishad which has outlined the Upasana Margam for a person on his path to attain Mukthi. Quoting from Kaivalya Upanishad she said that everyone needs a personal God in human form initially (Saguna Eka Rupam) with whom he can converse freely - share his feelings, prayers and even admonitions. Subsequently one should transcend this and worship the entire creation as God's manifestation (Saguna Aneka Rupam or Viswarupam). In the next level, when the devotee is mature enough, he should start meditation on the Nirguna Brahmam. Out of nearly 450 songs composed by MD 132 songs are on Lord Siva. She also said that MD was follower of Advaitha philosophy and he reinforces that in each kriti. List of songs rendered.

Siddhivinayakam- Chamaram
Sankaram Abhirami manoharam- (Kamala)Manohari
Pahimam Rathnachala-Mukhari.
Chandrasekharam sada bhajeham-Margahindolam
Veeravasantha Thyagaraja-Veeravasantham
Chinthaye Mahalingamurthim-Paras
Ardhanareeswaram-Kumudakriya
Dakshinamurthey-Sankarabharanam
Chidambara Nataraaja Murthim-Tanukeerthi

GG commenced the programme with Siddhivinayakam in Chamaram. The highlights in the sahithyam of the song was explained as under
'moola pankaja madhyastam' ' hastam'' ankusha dharam' ' chaturbhujam' depict the iconography of the God.
'Chamaram' refers to raga mudra and also the shodashopachara puja done to Vinayaka.
Rouhineyanujaarchitam' refers to Krishna (brother of Balaraman-son of Rohini) doing Puja to Lord Ganesha.
'Bhaadrapada maasa chaturthyaam' refers to vinayaka chaturthi festival.
The song was decorated with a few rounds of kalpana swarams. Veena and Violin gave good follow in the Kalpana swarams.

GG next sang Sankaram Abhiramimanoharam in the ragam (Kamala) Manohari on the presiding diety of Thirukkadayur. She mentioned that while being a Veeramurthy, Siva acted as Nigrahaanugraha murthy. i.e, giving anugraham while doing the nigraham. This is the place where Siva, in order to protect Markandeyan, destroyed Yama. Siva in this temple is called Amrithagadeswarar. The place has assumed much importance that Shahtiabdapoorthy and Sathabhishekams are considered to be auspicious to be performed in this temple.

The song Pahimam Rathnachala in Mukhari on Rathnagireeswarar of Kulithalai near Trichy followed. This temple is one of the Sakthi Peedams.There are three temples in this triad. Rathnagireeswarar, Kadambavaneswarar and Eengoinathar. The Ambal is called Araalakesi- Lady with curly hair. The Rathnagiri Hill is in the shape of Sreechakram. There are 9 hills which represent Navarathnas. There are 1017 steps to go upto the temple. There is a story of Arya Maharaja who came and prayed in the temple for recovering his lost Diamond crown and his descendents even today perform Abhishekam lifting water from Akhanda Cavery below.

Chandrasekharam sada bhajeham in Margahindolam is composed on Chandrasekharar. In the Tiruvarur temple, Thyagarajaswami comes as Utsavar only on the first day. From second to eighth day it is Chandrasekharar and there is a specific ritual called Chandrasekharapattam which gives the right to Chandrasekharar. for being the utsavar. Gayathri also rendered a rare song of MD in the ragam Veeravasantham- Veera vasantha Thyagaraja.

The next song presented was Chinthaye Mahalingamoorthim in the ragam Paras composed on the Mahalingaswamy of Thiruvidaimaruthoor and the Ambal is Brihadkujambal. If you take an aerial view of the TN, this temple will occupy the place of the Garbhagraham. Other temples like Tiruvarur, Chidambaram, Seergazhi and Swamimalai will form the parivara sthalams. The story of King Varaguna Pandyan getting rid of Brahmahathhi dosham by worshipping in this temple was told in this context.

Dikshithar has composed the song Ardhanaareeswaram on the Ardhanaareeswar, the presiding diety of Thiruchengode. The song was rendered with alapana and kalpana swaras.

The next song was Dakshinamurthey in Sankarabharanam. Dakshinamurthy is Gnanamurthy.He is a young Mounaguru sitting bellow the Kallala tree imparting gnanam to his shishyas.who are much older to him through the medium of silence. The chinmudra he shows denotes the union of Jeevathma and Paramathma.

The song Chidambara Nataraaja Murthim was sung on the Nrithamurthy - Natarajar of Chidambaram in the rare ragam Tanukeerthi.

All the songs were rendered very well - with full justice to the raga bhavam and sahithya bhavam. Kalpana swaras were rendered for Sidhivinayakam, Pahimam Rathnachala and Ardhanaareeswaram. The song Ardhanaareeswaram had the unimitable stamp of TNS all over it. The swaras at Aagamadi sannutham was catchy. The song in Tanukeerthi was new for me.The concert was of two hours only. Hence alapana was done only for Ardhanaareeswaram. Her lucid explanations, PP presentations with the sahithyam of the songs in Tamil and Sanskrit were well received by the discerning audience. This was in the Mini Hall and that restricted the audience. KGS should have arranged this concert in the Main Hall. The accompaniments were excellent. Veena by Mudikondan Ramesh was superb. His swara returns were scholarly and with full of raga bhavam that I got the satisfaction of attending two concerts- one vocal concert of Gayathri Girish and one Veena concert. Mukhari alapana done by Sanjeev in the violin was full of bhavam. Poongulam Subramaniam also played with good understanding.

[rshankar]

CRama, it is wonderful to have you return with a bang, so to speak! Thank you for that detailed review of Smt. Gayathri's concert. Nice list of songs.

[rajeshnat]

Crama
Great to see your detailed review . Veena by mudikondan ramesh should have indeed pepped ,kudos to GG(lot of NRI's who come during season would have had the benefit )

[CRama]

I met Arasi Madam in the venue and we had a nice chat. She gave me a CD of her songs by Neela Ramgopal and also a book containing her kavithaigal. I heard Arasi's songs for the first time (I feel ashamed to say so). They are really nice and enjoyable- simple words, great meaning, finely tuned and soulfully rendered by the great vidushi. Thanks Arasi Madam.
Arasi Madam, The person you saw along with me was not Sivaramakrishnan. He was my friend Balasubramaniam, who came for the Rasikas Meet also along with me.

[venkatakailasam]

C Rama...Arasi;s compositions rendered by nitin and Smt Neela are at concert 11 at this link..

http://myblogkumara.blogspot.in/2013/11 ... isten.html

8 of the songs..

[priyaram78]

I really regret not meeting Arasi Madam at KGS. but thanks Sri Venkatakailasam I can listen to her songs in the above link. I really loved the song composed by Arasi Madam and rendered emotively by Smt.Gayathri Girish. looking forward to listening to more compositions of Arasi Madam.

[arasi]

CRama,
Thank you for your detailed and perceptive report of an excellently presented program by Gayathri Girish.
The accompanists were very supportive, and when asked him, Mudikondan Ramesh said he didn't have any more concerts this season. I am glad I could hear him that day. What a vainikA!

[harimau]

The above thematic concert with Multi Media Presentation was held in the Mini Hall of Krishna Gana Sabha on 21 Dec 2013 at 9.30 AM.

The story of King Varaguna Pandyan getting rid of Brahmahathhi dosham by worshipping in this temple was told in this context.

I have always heard the words "Chozha brahmahatthi" with regards to this legend. Natives of Tiruvidaimarudur refer to "Chozha Brahmahatthi" only.

From Wikipedia:

[The legend of a Chola prince who killed a Brahmin and was in turn, pursued by his spirit (brahmahatthi), is associated with the temple. The Chola prince, it is believed, entered the Mahalingeswarar Temple and prayed to his favourite God, Shiva for relief from the clutches of the spirit of the dead Brahmin or brahmahatthi. The Chola prince made his way out through another entrance thereby saving himself.[7] It continues till day where people take the second entrance to exit the premises after worship. There is a sculpture of Chola brahmahatthi on the eastern premises in one of the inner gopurams (tower gateway)].

On the other hand, there are accounts one can find on the web of Varaguna Pandian getting rid of the brahmahatthi dosha. I think this story is highly suspect.

[Sivaramakrishnan]

The mention of 'Chintaye mahaalingamurthim' (Paras) on Tiruvidaimarudur reminded me of the other 'more popular' composition of MD 'Paradevataa Brihadkuchaamaa' (Dhanyasi) on the same sthala. The temple has been one among the 'much sung sthalas' in the Kumbhakonam belt and perhaps such aspects should encourage musicologists and musicians to study further. There is nothing which MD has done without a valid reason starting from selection of raga and tala and praasa etc. Indeed a wonderful avenue. Great going GG!
Welcome back and thanks CRama for the excellent report.

[CRama]

I discussed with Smt Gayathri Girish the point raised by Harimau regarding Varaguna pandyan. I have collected from her copies of a painting inside the temple on a wall close to the main sanctum which shows Varaguna Pandyan and also the extracts of the Sthala puranam which also confirms that the king afflicted by Brahmahathi dosham is Varaguna Pandyan. Hence there is no ambiguity regarding Varaguna pandyan. Please see the following links to the above documents.
Photo of Varaguna pandyan: http://www.sendspace.com/file/zzxzlc

sthalapauranam;http://www.sendspace.com/file/71tglf

Since the temple is situated in Chola desam, the brahmahathhi must have been called Chola Brahmahathi.

I also inform members that the next episode is on 26 Jan at Tatwaloka at 5 PM.