Singing a Kriti Starting with Anupallavi

[ajaysimha]

hi rasikas,

i have heard a few compositions that are started with anupallavi instead of pallavi

for example

kritis:
bAla kanakamaya (Ela nI dayarAdu)
citra ratnamaya(mitri bhAgyamE)
manasija mAnasa(jananI ninnu vinA)

padams:
OsOsi nAmadi(kAshiki poyyEnE)
ninnu jUci(ninnu jUDa)
neyyamuna kailAsa(ayyayyO marapAyana)


could anybody shed some light on this convention of singing kritis
also need a few more compositions that are sung in this way.

thanks,
ajay simha

[Lakshman]

sAkSAtkAra nI sadbhakti (mOkSamu galadA)-KVN
ati mrdutara satya (patiki hAratIrE)-Nedunuri
pavamAna sutuDu (nI nAma rUpamulaku)-All artists
vanaja nayana mOmunu (nanu pAlimpa)-Can't recall who sang it this way.

[shripathi_g]

MDR used to do this a lot especially for fast-paced songs. Some examples

1. cadavi vEda shAatrOpanishattula for Padavini
2. krpajEsi nA manavAlagincikI - Aparadhamu
3. gIrvANa nATakAlankAra - Ksheenamai
4. shruti moraliDa lEd - Natajana Paripala

[ganesh_mourthy]

sAkSAtkAra nI sadbhakti sangIta jnAna vihInulaku

It is a divine take of point that I heard nedunuri or KV narayanasami , I dont quite remember.

I have heard people start with the second line of pallavi . Just for a change.
It is more common with Thukkadas. Sudha the other day started with un ananda mohana venuganam adhil.

Starting with saranam leaves you pleasantly lost for a while until it dawns on you.

It is akin to someone doing a pecaboo. If it a welcome person it is pleasant .. and with some it can be annoying too.

This method works to create a mood shift for a short moment,

[ajaysimha]

and one more
pavanaja stuti pAtra (sItA kalyANa vaibhOgamE)

thanks lakshman ji.

MDR used to do this a lot especially for fast-paced songs. Some examples

yeah, it would a very nice start for fast-paced songs,
also the as they say in tamil "katcheri-um kala kattum"

It is akin to someone doing a pecaboo. If it a welcome person it is pleasant .. and with some it can be annoying too.

This method works to create a mood shift for a short moment,

totally agree!! it brings a kind of adbutha rasa!!

also if there is any kind of eduppu problem or if the pallavi is slow paced
then that problem can be solved by starting with anupallavi

but i have observed this liberty is usually taken in saint thyagaraja krithis.
and not much in other composers' krithis.

[CRama]

The glitch in this starting from the Anupallavi is that many times the musicians slip the cascading sangatis in the pallavi when it follows the anupallavi. (Eg. Mokshamugalada). The full weight of the kriti is compromised. and made as a filler song.

[CRama]

I have heard old timers telling me that this has been imported from the drama theatres. I have heard that irrespective of the story line, hero will come to the stage singing Sakshatkara nee.... and similar songs which start from the mel sthayi for a better effect on the audience. Let that remain with the drama stage.

[CRama]

Many padams follow this tradition..

[ajaysimha]

I have heard old timers telling me that this has been imported from the drama theatres. I have heard that irrespective of the story line, hero will come to the stage singing Sakshatkara nee.... and similar songs which start from the mel sthayi for a better effect on the audience. Let that remain with the drama stage.

nice info sir!!
i have also seen this way of singing in a few harikathas

[Sivaramakrishnan]

Many padams follow this tradition..

Starting Padams with Anupallavi has an altogether different connotation (from the key import of the theme). Moreover the Pallavi warrants complete handling and no short-cut is appreciated. Most Padams are identified by the Anupallavi sahitya rather than the Pallavi verse.

[thanjavooran]

I have heard old timers telling me that this has been imported from the drama theatres. I have heard that irrespective of the story line, hero will come to the stage singing Sakshatkara nee.... and similar songs which start from the mel sthayi for a better effect on the audience. Let that remain with the drama stage.

This is SG Kittappa style. My sister used to mention this very often. He will sing from the green room Evarani from Anupallavi. Those days no mike/ sound system. Audience can hear his top pitch voice clearly.
Similarly in my childhood days in Thanjavoor Big Temple I have seen some other troupe with the same technique followed by SG Kittappa
.
Thanjavooran
25 04 2019

[ajaysimha]

And one more
sompaina manasutO (callarE rAmacandru)

[VK RAMAN]

Good topic - Any reason why Anupallavi first - just to bring speed to the end or to awaken sleeping audience.

[sureshvv]

As you know, there are only two kinds of rasikas. Those that want the same blissful experience that they are already so familiar with and those that want to be surprised with a new experience as frequently as possible. Depending on which side of the fence you happen to be, your mileage may vary

[shankarank]

artha puSHTi increases! that is the reason. As pointed out by Dr. Lokanatha Sarma in one of his lec dems, bOdincina sanmArga vacanamula start for the pancaratnam, completes the sentence with the Pallavi.

[ajaysimha]

artha puSHTi increases!

point to be noted!!!

And one more
enduku chapalamu (endu dAginADu)

[RSR]

hi rasikas,
i have heard a few compositions that are started with anupallavi instead of pallavi
for example
kritis:
bAla kanakamaya (Ela nI dayarAdu)

It is a lovely kriti.
------------------------------
Krithis, Their Meanings and the Stories They Tell
https://krithis-theirmeanings-thestorie ... atana.html
(Smt.MS)
https://www.youtube.com/watch?v=73Zj_VCguLs

[ajaysimha]

other such renditions -
kAmini vEsha dhAriki - rAmA nIyeDa - Karaharapriya

sri gananatha - lambodara lakumikara - pillari gitam

[rbharath]

some examples not listed earlier

1. marupaDiyum karuvaDaiyum kuzhiyil thaLLi (for tiruvaDi caraNam)
2. srngAraka mEsha vruschika (for angArakam AshrayAmi)
3. kaliniyingitha (for kaligiyuntE)

many padams and utsava sampradaya kritis are sung this way

[rbharath]

traditionally this idea was used for probably the following reasons

1. creating effect
2. saving time (either running out of time for concert or need to include many items)
3. more meaningful
4. during 78 RPM days, pieces had to be shrunk and presented within a few min. quickening the pace, singing from anupallavi were some of the techniques used for this

[rbharath]

another example of this.

jalaja bandu starting for alasara paritApam