Mutthuswamy Dikshithar (Krithis)
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Rajeev:
Until a few months back a site called guguha.org had a bunch of MD's compositions sung by a host of musicians. Their last upload was Ardhanareeswaram, in Kumudakriya, by SSI, nearly a year (or, more) back. Now the site seems to have lost its audio links altogether. I will see if I can contact one of the folks who used to maintain that site for an update.
B. Rajam Iyer is supposed to be a repository for MD's compositions. SRJ certainly is an authority on them, and he renders the unmodified versions (Ananda Bhairavi with Suddha Dhaivatham in Kamalambha Samrakshathu), Sri Sundararajam, in Ramakriya etc. Another is Kalpagam Swaminathan - perhaps, Davalangi, Ashwin, Sri Kulkarni will help us out......
Chithra
Until a few months back a site called guguha.org had a bunch of MD's compositions sung by a host of musicians. Their last upload was Ardhanareeswaram, in Kumudakriya, by SSI, nearly a year (or, more) back. Now the site seems to have lost its audio links altogether. I will see if I can contact one of the folks who used to maintain that site for an update.
B. Rajam Iyer is supposed to be a repository for MD's compositions. SRJ certainly is an authority on them, and he renders the unmodified versions (Ananda Bhairavi with Suddha Dhaivatham in Kamalambha Samrakshathu), Sri Sundararajam, in Ramakriya etc. Another is Kalpagam Swaminathan - perhaps, Davalangi, Ashwin, Sri Kulkarni will help us out......
Chithra
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I just thought you'd all like to see this photo of Kalpagam Mami taken at her home in Chennai in May. SRJ Mama decided that we would go and meet this great lady, from whom he had learned so many Dikshitar kritis five decades earlier. We all took her blessings, after which SRJ Mama and Kalpagam Mami engaged in a discussion on the controversial lakShaNAs of various ragas such as gauLipantu - we were then fortunate enough to witness her unparalleled renditions of SrI mAtah (bEgaDA), sadASrayE (cAmaram), and hastivadanAya (navarOj) on the vINA. The photo can be found at the following link:
http://individual.utoronto.ca/iyer/KalpagamMami.jpg
http://individual.utoronto.ca/iyer/KalpagamMami.jpg
rajeev,
chitra.
hope this meets the "rare' criteria
http://rapidshare.de/files/3078664/Raja ... i.mp3.html
sorry for the typo -in the track name.noticed it after upload.please read it as ariakudi
chitra.
hope this meets the "rare' criteria
http://rapidshare.de/files/3078664/Raja ... i.mp3.html
sorry for the typo -in the track name.noticed it after upload.please read it as ariakudi
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No! I am hearing it first!
Perhaps it was discussed at Sangitam under controversial MD kritis.
Meena! HelP!!
Mohanam belonged to MVI which he bequeathed to his son. ARI's quick aalaapanai and the smooth swara prasthaaram shows he is the master of short kritis. He is the inventor of the 3-minute kiirtanai We must also compliment TNK for the lovely short aalapana.
Perhaps it was discussed at Sangitam under controversial MD kritis.
Meena! HelP!!
Mohanam belonged to MVI which he bequeathed to his son. ARI's quick aalaapanai and the smooth swara prasthaaram shows he is the master of short kritis. He is the inventor of the 3-minute kiirtanai We must also compliment TNK for the lovely short aalapana.
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Sri CML,
While searching for the TNS version (he had some exceptionally imaginative swaras at "pArijAta-tarumUlam"), I found this exquisite piece by Smt Kalpagam Swaminathan : aaryaam abhayaambaam.
http://rapidshare.de/files/3082251/aaryaam_ks.mp3.html
Ashvin, if you see this please let me know in case you think it is not appropriate to put this up.
It does not look like a commerical recording (it looks like it is a home recording) . I also did a search on the web to make sure .Don't know who gave it to me. This is the way Dikshitar Kritis should be sung! No wonder Sri SRJ holds her in such high regard.
My day is made
While searching for the TNS version (he had some exceptionally imaginative swaras at "pArijAta-tarumUlam"), I found this exquisite piece by Smt Kalpagam Swaminathan : aaryaam abhayaambaam.
http://rapidshare.de/files/3082251/aaryaam_ks.mp3.html
Ashvin, if you see this please let me know in case you think it is not appropriate to put this up.
It does not look like a commerical recording (it looks like it is a home recording) . I also did a search on the web to make sure .Don't know who gave it to me. This is the way Dikshitar Kritis should be sung! No wonder Sri SRJ holds her in such high regard.
My day is made
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P: rAjagOpAlam bhajEham ramAlIlam
A: tEjOmaya mOhanakaram divyAmbarAdi dharam gajarAja pUjita padam guNijana nata gOvindam
C: nAradAdi kRta bhajanam nAdalaya yuta sadanam haridrA nadI tIram hatyAdi pApaharam pArijAta tarumUlam paHNkhajanayana vishAlam guruguha hita vanamAlam gOpIjana mAlOlam
kannan
This kRti lacks the classical stamp of dIkShitar.
You are right about the prAsa.The song holds alright in pallavi and, to a degree, the first half of the anupallavi. When we come to the madhyamakAla sAhitya, the structure starts crumbling; the prAsa is lost. gaja is not rhyming with tEja or rAja.This is however not insurmountable as it can be achieved by shifting gaja to the previous tALa. There is sufficient place for this manoeuvre. Bu even after doing that, the yati is not achieved (vaDi, mOnai) as guNi is not fitting with gaja or rAja either.
In caraNa, haridrA is no prAsa for nArada. Yati is Ok for the 2 different halves but it doesnt quite work that way in musical prosody. Again in madhyamakAla sAhitya, pSrijAta rhymes with nArada but is again lost in guruguha. The yati is fine as pankaja is yati for pArijAta. Also gOpi is ok for guru.
Overall thespread/distribution of words is rather haphazard with toomany in some places and too few in others. This mars the beauty/padaSayye of the kRti and is very uncharacteristic of dIkShitar`s sAhitya. But the use of "mUlam", "viSAlam", "lOlam", "mAlam" is very much like dIkShitar.
Also, the music does not seem to have the stamp of dIkShitar.This is difficult to explain but can be felt. It may be partly due to the fact that this kRti is set in madhyamakAla and does not give too much scope for the sweeping and swaying gamakas that one meets ever so often in MD kRtis.
This kRti seems a poor candidate for an MD kRti and makes it less likely to be so. But one cannot be categorical in such cases. There are some kRtis which are accepted as MD`s and some are also given in te SSP that seem to have flaws similar to the kRti discussed here.(I know Im stirring a hornets`s nest by saying this but that is my observation).
PPN does not mention this kRti as controversial but mentions this about "gOpikAmanOharam bhajEham" on carnatica. That kRti has similar flaws(but less in comparison). Heres the link-
http://carnatica.net/special/raganubhav ... am-ppn.htm
Also please see my post on sangeetham regarding rules of prosody in musical compositions. Heres the link
http://sangeetham.com/bboard/quest.php3 ... 5&qid=5292[/b]
A: tEjOmaya mOhanakaram divyAmbarAdi dharam gajarAja pUjita padam guNijana nata gOvindam
C: nAradAdi kRta bhajanam nAdalaya yuta sadanam haridrA nadI tIram hatyAdi pApaharam pArijAta tarumUlam paHNkhajanayana vishAlam guruguha hita vanamAlam gOpIjana mAlOlam
kannan
This kRti lacks the classical stamp of dIkShitar.
You are right about the prAsa.The song holds alright in pallavi and, to a degree, the first half of the anupallavi. When we come to the madhyamakAla sAhitya, the structure starts crumbling; the prAsa is lost. gaja is not rhyming with tEja or rAja.This is however not insurmountable as it can be achieved by shifting gaja to the previous tALa. There is sufficient place for this manoeuvre. Bu even after doing that, the yati is not achieved (vaDi, mOnai) as guNi is not fitting with gaja or rAja either.
In caraNa, haridrA is no prAsa for nArada. Yati is Ok for the 2 different halves but it doesnt quite work that way in musical prosody. Again in madhyamakAla sAhitya, pSrijAta rhymes with nArada but is again lost in guruguha. The yati is fine as pankaja is yati for pArijAta. Also gOpi is ok for guru.
Overall thespread/distribution of words is rather haphazard with toomany in some places and too few in others. This mars the beauty/padaSayye of the kRti and is very uncharacteristic of dIkShitar`s sAhitya. But the use of "mUlam", "viSAlam", "lOlam", "mAlam" is very much like dIkShitar.
Also, the music does not seem to have the stamp of dIkShitar.This is difficult to explain but can be felt. It may be partly due to the fact that this kRti is set in madhyamakAla and does not give too much scope for the sweeping and swaying gamakas that one meets ever so often in MD kRtis.
This kRti seems a poor candidate for an MD kRti and makes it less likely to be so. But one cannot be categorical in such cases. There are some kRtis which are accepted as MD`s and some are also given in te SSP that seem to have flaws similar to the kRti discussed here.(I know Im stirring a hornets`s nest by saying this but that is my observation).
PPN does not mention this kRti as controversial but mentions this about "gOpikAmanOharam bhajEham" on carnatica. That kRti has similar flaws(but less in comparison). Heres the link-
http://carnatica.net/special/raganubhav ... am-ppn.htm
Also please see my post on sangeetham regarding rules of prosody in musical compositions. Heres the link
http://sangeetham.com/bboard/quest.php3 ... 5&qid=5292[/b]
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Dr Srikanth,
Thank you for taking the effort to write such a detailed and scholarly response. It made things very clear. Each time you write I seem to learn a month's worth in a few minutes
Unfortunately, the sangeetham link seems to be down so I will have to wait before I can read that. When you get the time please do write about what other Dikshitar kritis you think might have some problems.
Thanks again,
Kannan
Thank you for taking the effort to write such a detailed and scholarly response. It made things very clear. Each time you write I seem to learn a month's worth in a few minutes
Unfortunately, the sangeetham link seems to be down so I will have to wait before I can read that. When you get the time please do write about what other Dikshitar kritis you think might have some problems.
Thanks again,
Kannan
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Kannan
Here is mAmi playing the kalyAni masterpiece! THIS is what a "dIkshitar Composition" SHOULD sound like You would agree with me on that, I am sure! This was recorded in 1994 at her home in Indira Nagar by her biggest fan Longtime Sangeetham.com and RMIC readers would know who that is.
http://rapidshare.de/files/3090130/abhayAmba.mp3.html
Here is mAmi playing the kalyAni masterpiece! THIS is what a "dIkshitar Composition" SHOULD sound like You would agree with me on that, I am sure! This was recorded in 1994 at her home in Indira Nagar by her biggest fan Longtime Sangeetham.com and RMIC readers would know who that is.
http://rapidshare.de/files/3090130/abhayAmba.mp3.html
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Thanks davalangi! I completely agree
I completely fail to understand how/why mami is not better known. Populism is clearly the bane of CM.
I have never heard vINa like this before, leave alone her perfect handling of MD kritis. It is not just the perfection of gamkas, even her tone is unbelievably pure.
To be honest, before today, I had never really understood why the vINa was placed above the violin in demonstrating nuanced gamakas and thought it was due to historical reasons. I am begining to see now God willing, I am planning to learn vINa in my life.
Like CML sir says, this is almost certainly how MD must have sung/played these songs. As Sri Tyagaraja said "endarO mahAnubhAvulu andarikki vandanamulu"
I completely fail to understand how/why mami is not better known. Populism is clearly the bane of CM.
I have never heard vINa like this before, leave alone her perfect handling of MD kritis. It is not just the perfection of gamkas, even her tone is unbelievably pure.
To be honest, before today, I had never really understood why the vINa was placed above the violin in demonstrating nuanced gamakas and thought it was due to historical reasons. I am begining to see now God willing, I am planning to learn vINa in my life.
Like CML sir says, this is almost certainly how MD must have sung/played these songs. As Sri Tyagaraja said "endarO mahAnubhAvulu andarikki vandanamulu"
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Pardon for naive questions.
Dr.Shrikkanth,
Greetings! If haridra does not satisfy (dvi-akshara prAsa?) with nArada, then e.g. in ADa mODi of tyAgarAja (first krithi listed on Sangeetham.com so an arbitray example) wouldnt ADa and tODu not satify too? How about Emi jEsitEnEmu vs kAma moHa? Or are the rules there diffferent for telugu vs sanskrit? Or does MD just always follows them lot stricter compared to Tyagaraja?
I thought the second "consonant" match is sufficient for prAsa not necessarily the vowel associated with it (although a its obvious that it makes things rhyme better). I must be missing something obvious or looking things too naively - i sure dont know much about it (:-).
Pl. clarify. Thanks
Arun
Dr.Shrikkanth,
Greetings! If haridra does not satisfy (dvi-akshara prAsa?) with nArada, then e.g. in ADa mODi of tyAgarAja (first krithi listed on Sangeetham.com so an arbitray example) wouldnt ADa and tODu not satify too? How about Emi jEsitEnEmu vs kAma moHa? Or are the rules there diffferent for telugu vs sanskrit? Or does MD just always follows them lot stricter compared to Tyagaraja?
I thought the second "consonant" match is sufficient for prAsa not necessarily the vowel associated with it (although a its obvious that it makes things rhyme better). I must be missing something obvious or looking things too naively - i sure dont know much about it (:-).
Pl. clarify. Thanks
Arun
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CML sir - The controversy was probably about the use/non-use of pratimadhyamam in gauLipantu. Kalpagam mAmi plays krShNAnanda with suddhamadhyamam whereas SRJ introduces the pratimadhyamam as the anya swaram. He contests that gauLipantu "needs" the anya swaram for its survival Here are the renditions of dIkshitar's krShNAnanda by both of them:
http://rapidshare.de/files/3092339/gauLipantu.mp3.html
http://rapidshare.de/files/3092389/SRJ- ... u.mp3.html
http://rapidshare.de/files/3092339/gauLipantu.mp3.html
http://rapidshare.de/files/3092389/SRJ- ... u.mp3.html
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Here is Kalpagam mAmi playing MD's saundararAjam AShrayE. I will let the audio speak for itself
http://rapidshare.de/files/3092622/soun ... m.mp3.html
http://rapidshare.de/files/3092622/soun ... m.mp3.html
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I will call it a nite after this - mAmi's rendition of hastivadanAya in navrOj.
http://rapidshare.de/files/3092990/hast ... a.mp3.html
While Brindamma's version is great, this one seems to be in a league of its own (MHO)
http://rapidshare.de/files/3092990/hast ... a.mp3.html
While Brindamma's version is great, this one seems to be in a league of its own (MHO)
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[quote]Pardon for naive questions.
Dr.Shrikkanth,
Greetings! If haridra does not satisfy (dvi-akshara prAsa?) with nArada, then e.g. in ADa mODi of tyAgarAja (first krithi listed on Sangeetham.com so an arbitray example) wouldnt ADa and tODu not satify too? How about Emi jEsitEnEmu vs kAma moHa? Or are the rules there diffferent for telugu vs sanskrit? Or does MD just always follows them lot stricter compared to Tyagaraja?
I thought the second "consonant" match is sufficient for prAsa not necessarily the vowel associated with it (although a its obvious that it makes things rhyme better). I must be missing something obvious or looking things too naively - i sure dont know much about it (:-)."
heres the corrected link for sangeetham post
http://sangeetham.com/bboard/quest.php3 ... 5&qid=5292
Arunk
You have missed the point here.
If you read my post carefully, some of your questions will be answered. I said rAja and tEjo do rhyme and so do nArada and pArijAta or rAja and pUjita. The length or nature of the vowel on the prAsAkShara (consonant) are immaterial but the length but not the nature of the vowel before the prAsAkShara are of paramount importance. It is mandatory and not an option. And the rules are no different for Sankri, kannaDa, telugu or tamilzh or whatever Indian language You choose. And no, tyAgarAja has not been lax about rules. You will not find faults with his prosody. Nor with SyAmASAstri.
You may compare this with Tamizh poems for instance
e.g vaDa varaiyai mattAkki vAsukiyai nANAkki
kaDal vaNNan paNDoru nAL kaDalvayiru kalakkinaiyE
vaDa and kaDal are prAsa(edugai), vaDa and vAsuki are yati/mOnai.
have a look at this poem from kambarAmAyaNam
Adi arasan arungE kayanmagaLmEl
kAdal mudira karuttazhindAn Am enbAr
sItai maNavALan tannODum tIkkAnam
pOdum; anREL pugudum Eri enbAr.
(ayOdyA kANDam, nagarnIngu paDalam, 104).
Here Adi, kAdal, sItai and pOdum are prAsa. Note the difference in vowels on the prAsAkShara. Also note that all the vowels before the prAsA consonant are dIrgha/nedil. However there is A, I and O and that is perfectly OK.
Dr.Shrikkanth,
Greetings! If haridra does not satisfy (dvi-akshara prAsa?) with nArada, then e.g. in ADa mODi of tyAgarAja (first krithi listed on Sangeetham.com so an arbitray example) wouldnt ADa and tODu not satify too? How about Emi jEsitEnEmu vs kAma moHa? Or are the rules there diffferent for telugu vs sanskrit? Or does MD just always follows them lot stricter compared to Tyagaraja?
I thought the second "consonant" match is sufficient for prAsa not necessarily the vowel associated with it (although a its obvious that it makes things rhyme better). I must be missing something obvious or looking things too naively - i sure dont know much about it (:-)."
heres the corrected link for sangeetham post
http://sangeetham.com/bboard/quest.php3 ... 5&qid=5292
Arunk
You have missed the point here.
If you read my post carefully, some of your questions will be answered. I said rAja and tEjo do rhyme and so do nArada and pArijAta or rAja and pUjita. The length or nature of the vowel on the prAsAkShara (consonant) are immaterial but the length but not the nature of the vowel before the prAsAkShara are of paramount importance. It is mandatory and not an option. And the rules are no different for Sankri, kannaDa, telugu or tamilzh or whatever Indian language You choose. And no, tyAgarAja has not been lax about rules. You will not find faults with his prosody. Nor with SyAmASAstri.
You may compare this with Tamizh poems for instance
e.g vaDa varaiyai mattAkki vAsukiyai nANAkki
kaDal vaNNan paNDoru nAL kaDalvayiru kalakkinaiyE
vaDa and kaDal are prAsa(edugai), vaDa and vAsuki are yati/mOnai.
have a look at this poem from kambarAmAyaNam
Adi arasan arungE kayanmagaLmEl
kAdal mudira karuttazhindAn Am enbAr
sItai maNavALan tannODum tIkkAnam
pOdum; anREL pugudum Eri enbAr.
(ayOdyA kANDam, nagarnIngu paDalam, 104).
Here Adi, kAdal, sItai and pOdum are prAsa. Note the difference in vowels on the prAsAkShara. Also note that all the vowels before the prAsA consonant are dIrgha/nedil. However there is A, I and O and that is perfectly OK.
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Thanks drshrikkanth!
I think I understand. I was indeed looking for "coarser" (read naive) matches but the rules seem more subtle. I didnt know that the length of vowel (irrespective of the nature of the vowel) match before the prAsAkshara was the determining factor. Now things make more sense.
Thanks again.
Arun
I think I understand. I was indeed looking for "coarser" (read naive) matches but the rules seem more subtle. I didnt know that the length of vowel (irrespective of the nature of the vowel) match before the prAsAkshara was the determining factor. Now things make more sense.
Thanks again.
Arun
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- Joined: 08 Jul 2005, 01:36
Chithra had mentioned shrI sundararAjam bhajEham in rAmakriya in her post. Please click on the link for SRJ's rendition of the kriti.
http://rapidshare.de/files/3105941/shrI ... m.mp3.html
http://rapidshare.de/files/3105941/shrI ... m.mp3.html
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In a funny coincidence I found another one by mami : siddhIshvarAya
http://rapidshare.de/files/3111369/sidd ... a.mp3.html
I am running out of words of praise
http://rapidshare.de/files/3111369/sidd ... a.mp3.html
I am running out of words of praise
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Meena,
Thanks a ton. The information that you had given is pretty exhaustive. I will go through the links. Meantime, I vaguely remember that AIR had relayed a programme on these kritis along with a commentary. Vaigai S Gnanaskandan was the producer. Wonder whether any one has the complete programme.
Kaumaaram.
Thanks a ton. The information that you had given is pretty exhaustive. I will go through the links. Meantime, I vaguely remember that AIR had relayed a programme on these kritis along with a commentary. Vaigai S Gnanaskandan was the producer. Wonder whether any one has the complete programme.
Kaumaaram.
Kaumaaram
There are about 27 Kritis on Ganapati attributed to Dikshitar.There is a an opinion that Dikshitar composed 16 kritis (shodasha ganapati kritis) on the various forms of Ganesha in Tiruvarur.However the internal evidence in the kritis is insufficient to identify them.
Excellent article by Dr. P. P. Narayanaswami + audio clips:
http://carnatica.net/special/ganesha-aug03-part1.htm
"There are icons of these 16 forms in the courtyard of the tiruvArUr Temple, and dIkSitar has sung in praise of some (perhaps all) of them. Of the 27 available k.rits, eight are on temples outside the tiruvArUr area, two have unknown locations, thus leaving us with 17 k.rtis on tiruvArUr. These already include four k.rtis on the mahA gaNapati form, leaving us with 13 k.rtis to account for the remaining 15 forms of gaNapati. Hence it is impossible that we have a k.rti on each of these 16 forms. Except for mahA and ucciSTha forms, the textual tradition does not match the description in these tiruvArUr gaNapati k.rtis. Again, some of the k.rtis like "gaNEsha kumAra" with a samaSTi caraNam are merely generic epithets - which lead us to no conclusions regarding exact locations. Thus, the Sodasha gaNapati theme (a set of 16 dikSitar k.rtis in Tiruvarur, one for each of the 16 different forms) could be a myth. There might have been a set of 16 k.rtis composed by dIkSitar on SoDasha gaNapatis of tiruvArUr, but all of them have not come down to us at this time."
Discussion on the subject-
scroll down the page to read on shodasa ganapati-
http://forumhub.com/indcmusic/151.19637.07.51.54.html
http://forumhub.com/indcmusic/19698.19637.07.51.54.html
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i found this interesting reply to V.Sriram's article on the SSP in the internet edition of Sruti...
"The only memory of the manuscripts she has is that of Baluswamy Dikshitar (Ambi Dikshitar's son) having brought them to Kolkata for public display in a function organised by the Karnataka Sangeeth Sammelan during the Dikshitar bicentenary celebrations in 1975-76. She even recalls him giving her one of the precious manuscripts for transcribing a kriti Jaganmohana Ganapate in Karnataka Kapi. (He then took away the manuscript, and the copy!) This kriti has, incidentally, not seen the light of day!"
http://www.sruti.com/Aug05/sbox.htm
it is quite possible that the kriti mentioned here 'Jaganmohana Ganapate' in Karnataka Kapi might be one of the Shodasa Ganapati kritis...
its pretty sad that the palm leaf manuscripts are in such a sorry state... one wonders how many more kritis are missing!! :^o
"The only memory of the manuscripts she has is that of Baluswamy Dikshitar (Ambi Dikshitar's son) having brought them to Kolkata for public display in a function organised by the Karnataka Sangeeth Sammelan during the Dikshitar bicentenary celebrations in 1975-76. She even recalls him giving her one of the precious manuscripts for transcribing a kriti Jaganmohana Ganapate in Karnataka Kapi. (He then took away the manuscript, and the copy!) This kriti has, incidentally, not seen the light of day!"
http://www.sruti.com/Aug05/sbox.htm
it is quite possible that the kriti mentioned here 'Jaganmohana Ganapate' in Karnataka Kapi might be one of the Shodasa Ganapati kritis...
its pretty sad that the palm leaf manuscripts are in such a sorry state... one wonders how many more kritis are missing!! :^o
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Venkat
Thanks for the information. Sri Baluswami Dikshitar (Sri BD) whom you are talking about is the 5th descendant of Sri Muthuswami Dikshitar. I had learnt the veena instrument under Sri BD's guidance for sometime until the classes were dissolved due to typical politics. Sri BD hated politics in all forms. In fact he was teaching me veena without collecting any fee! [That I abandoned my learning is a different matter.]
I had the chance to meet Sri BD sometime during 1983-1984. He continued to have the pooja materials (vigraham and others) of Sri Muthuswami Dikshitar.
Sri BD had both the veena (which Sri Muthuswami Dikshitar had with him) and other materials. I learnt later that Sri BD passed away but then the family had moved from West Mambalam (parallel to Thambiah Reddy Road - where Shobana Kalyana Mandapam was situated) to somewhere else. I vaguley remember that Sri BD's eldest son Sri Muthuswami continues to have the materials with him. Sri Muthuswami was last in Bangalore; he must be continuing the tradition.
Sri BD had the unique method of handling Veena and people(regardless of age) used to dash into the classrooms to listen to his method of teaching the Navavarana Krithis to his students. I learnt a few varnams from Sri BD and one or two kritis before abandoning my learning process. It is all nostalgia now.
The idea of my writing this piece is to state that the materials howsoever old they might be must definitely be preserved by inheritors. Possibly, the Pattamal family could help us in tracing out the whereabouts of these materials.
I am trying to find out the All-India Radio rendition of Shodasa Ganapati Kritis so that I could share it with you all.
Kaumaaram
Thanks for the information. Sri Baluswami Dikshitar (Sri BD) whom you are talking about is the 5th descendant of Sri Muthuswami Dikshitar. I had learnt the veena instrument under Sri BD's guidance for sometime until the classes were dissolved due to typical politics. Sri BD hated politics in all forms. In fact he was teaching me veena without collecting any fee! [That I abandoned my learning is a different matter.]
I had the chance to meet Sri BD sometime during 1983-1984. He continued to have the pooja materials (vigraham and others) of Sri Muthuswami Dikshitar.
Sri BD had both the veena (which Sri Muthuswami Dikshitar had with him) and other materials. I learnt later that Sri BD passed away but then the family had moved from West Mambalam (parallel to Thambiah Reddy Road - where Shobana Kalyana Mandapam was situated) to somewhere else. I vaguley remember that Sri BD's eldest son Sri Muthuswami continues to have the materials with him. Sri Muthuswami was last in Bangalore; he must be continuing the tradition.
Sri BD had the unique method of handling Veena and people(regardless of age) used to dash into the classrooms to listen to his method of teaching the Navavarana Krithis to his students. I learnt a few varnams from Sri BD and one or two kritis before abandoning my learning process. It is all nostalgia now.
The idea of my writing this piece is to state that the materials howsoever old they might be must definitely be preserved by inheritors. Possibly, the Pattamal family could help us in tracing out the whereabouts of these materials.
I am trying to find out the All-India Radio rendition of Shodasa Ganapati Kritis so that I could share it with you all.
Kaumaaram
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- Posts: 122
- Joined: 26 Jun 2005, 22:56
Hi Sri:
Here is Gowlipanthu by KS. Pl. let me know the SRJ pieces that you want.
http://rapidshare.de/files/7772205/GauLipantu.mp3
chithra
Here is Gowlipanthu by KS. Pl. let me know the SRJ pieces that you want.
http://rapidshare.de/files/7772205/GauLipantu.mp3
chithra
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- Posts: 122
- Joined: 26 Jun 2005, 22:56
Hi Sri:
Here are some SRJ uploads we had in this forum a while back. Also check www.sangeethapriya.org - davalangi had sent music there as well.
http://rapidshare.de/files/7839061/SRJ-bhAiravi.mp3
http://rapidshare.de/files/7839087/SRJ-GauLipantu.mp3
http://rapidshare.de/files/7839114/SRJ-Surati.mp3
chithra
Here are some SRJ uploads we had in this forum a while back. Also check www.sangeethapriya.org - davalangi had sent music there as well.
http://rapidshare.de/files/7839061/SRJ-bhAiravi.mp3
http://rapidshare.de/files/7839087/SRJ-GauLipantu.mp3
http://rapidshare.de/files/7839114/SRJ-Surati.mp3
chithra
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- Posts: 781
- Joined: 13 Dec 2005, 15:58
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- Posts: 781
- Joined: 13 Dec 2005, 15:58