Thyagaraja (Krithis)

Carnatic composers (other than performing vidwans)
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SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

vgovindan wrote: 31 May 2020, 09:43 In tamil, there is a proverb - oru pAnai sOTRukku oru sOru padam (ஒரு பானை சோற்றுக்கு ஒரு சோறு பதம்) meaning, to find out whether the rice is cooked or not, you just test one grain. Accordingly, I have taken one 'kRti' purported to have been written by SrI tyAgarAja. The kRti is reproduced below -

6th kRti

சிவாபராதமு ஸேய ராது
SivAparAdhamu sEya rAdu
(One should commit offence against Siva)

சிந்திஞ்சு விநவே ஓ மனஸா
cintincu vinavE O manasA
(Ponder, listen O my mind)

பவாப்தி தரணமு பாதிஞ்சக
bhavAbdhi taraNamu bAdhincaga
(without affecting crossing of saMsAra)

பாமருல கெவரு பாலிஞ்சுனு
pAmarula kevaru pAlincunu
(who will protect ordinary people)

ஸப்தகோடி மந்த்ரமு ஸதிவிஞ்சிதேநேமி
saptakOTi mantramu sadivincitEnEmi
(Of what avail teaching 7 crore mantras)

ஸத்யவ்ரதமு லெல்ல ஸாதிஞ்சிதேநேமி
satyavratamu lella sAdhincitEnEmi
(Of what avail accomplishishing penances of truth)

ஸர்வாதிகார ஸம்பந்நுடைதேநேமி
sarvAdhikAra sampannuDaitEnEmi
(Of what avail having all powers like an emperor)

ஸஹஸ்ரநாம போஜனமு ஜேஸிதே நேமி
sahasranAma bhOjamu jEsitE nEmi
(Of what avail doing sahasra nAma food offering?)

துர்ஜனுல தூஷிஞ்சிதே நேமி
durjanula dUshincitE nEmi
(Of what avail cursing evil)

ஸஜ்ஜனுல பூஷிஞ்சிதே நேமி
sajjanula bhUshincitE nEmi
(Of what avail praising good)

தர்ம கர்மமு ஜேஸிதே நேமி
dharma karmamu jEsitE nEmi
(Of what avail performing dharma karma?)

நிர்மல ஸ்ரீ த்யாகராஜு பொகடிதே நேமி
nirmal SrI tyAgarAju pogaDitE nEmi
(Of what avail if pure tyAgarAja praises)

Prasa - anuprasa :
Pallavi - Siva (1st line) cintincu (2nd line)

Meanings
A - bhavAbdhi taraNamu bAdhincaga - without affecting crossing of saMsAra ?

pAmarulakevaru pAlincunu - wrong usage - it could be 'pAmarulanevaru'

C - sapta kOTi mantramu cadivincitEnEmi - what is the use teaching 7 crore mantras? - teaching?

satya vratamu lella sAdhincitEnEmi - vratamu sAdhincu? It could be vratamu jEsitEnEmi

sahasranAma bhOjanamu ? What does it mean?

durjanula dUshincitEnEmi - of what avail cursing evil people??

sajjanula bhUshincitEnEmi - of what avail praising good people?

dharma karmamu jEsitEnEmi - of what avail performing dharma and karma ?

nirmala SrI tyAgarAju pogaDitEnEmi - of what avail even if pure tyAgarAja praises?

I couldn't make head and tail.

There is a saying - the best tribute is plagiarizing.
Oh. My. God. :o :shock: :shock: :lol: :lol: :lol:
Last edited by SrinathK on 31 May 2020, 15:32, edited 1 time in total.

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

I am sorry for calling this practice of fakes published in Swamigal's name as unethical.

This is actually criminal!

And these attempts are so bad, so utterly horribly done, it's hilarious!!

Pratyaksham Bala
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Re: Thyagaraja (Krithis)

Post by Pratyaksham Bala »

.
@SrinathK
Please refer to Post #422.
Are the 18 kritis listed there genuine? Or fakes are there?

vgovindan
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Joined: 07 Nov 2010, 20:01

Re: Thyagaraja (Krithis)

Post by vgovindan »

In the book of TKG, the following 22 kRtis are listed as doubtful - I have gone by this opinion for want of any contradiction. Of these, there are only two kRtis on Siva.
(There are two kRtis in kEdAra gauLa both starting similarly. Of these, one is marked doubtful).

parAmukhamEla - suraTi
ranga nAyaka - SankarAbharaNam
sArasa nEtra - SankarAbharaNam
rAma nAmamu - aThANa
nata jana - siMhEndra madhyamam
nIdu caraNamulE - siMhEndra madhyamam
nI sari sATi - hEmavati
paripUrNa kAma - haMsa bhramari
dinamE sudinamu - latAngi
sandEhamuyElarA - kalyANi
sarasIruha nayanE - amRta varshiNi
mAra vairi ramaNi - nAsika bhUshaNi - Siva
SrI gaNa nAtham - kanakAngi
kalaSa vArdhijAm - ratnAngi
veDalenu kOdaNDa pANi - tODi
abhimAnamennaDu - kunjari
ElarA SrI kRshNa - kAmbhOji
gAna mUrtE - gAna mUrti
garuDa gamana - gauri manOhari
sadA madini - gambhIra vANi - Siva
vArija nayana 2 - kEdAragauLa
vinatA suta vAhanuDai - hari kAmbhOji

The commonality between the list in #422 and the above are 'mAra vairi' and 'sadA madin' if they are same kRtis as listed by me.

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

Some of these kritis are available in manuscript, and from more than one source. The melodic style also matches.

In particular, sri gaNanAtham, kalashavArthijam and gAnamurtE have been found. Paripurna kama is also available in purvikalyani as per Walajapettai mss, and quite close to the present popular version of the GNB school

These kritis may have been considered doubtful due to absence of sources, but now that the manuscripts of Thyagaraja's disciples are being studied, some of them are being found there.

However it is known now that some of the ones on that list are clearly composed by others. The kritis in simmendramadhyamam and vinata suta in harikambhoji are KV Srinivasa Iyengar's compositions.

rshankar
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Re: Thyagaraja (Krithis)

Post by rshankar »

Wasn't one of the issues with gAnamUrtE (and another one in kalyANi) the use of the rAga mudra in lyrics, something Sri Tyagaraja 'never' did?

vgovindan
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Joined: 07 Nov 2010, 20:01

Re: Thyagaraja (Krithis)

Post by vgovindan »

rAga mudra -

There are three kRtis (of the 22) with rAga mudra -

gAna mUrtE - gAna mUrti
dinamE sudinamu - latAngi
sarasIruha nayanE - amRta varshiNi

I have gone through the kRtis listed (22). The following kRtis have some obvious errors -

dinamE sudinamu
ElarA SrI kRshNa
garuDa gamana
nata jana

There is tisra gati in one kRti -
sArasa nEtra

A few years back, after completion of blogging, I started analysis of the kRtis. But, I left it, because of two reasons - one I did not want to superpose my prejudices, and two, I was not musically qualified.

If indeed these kRtis were not composed by SrI tyAgarAja, then it has been done by a very clever person who knew tyAgarAja's style very well.

Unlike the kRti given in post #450 which is, to say the least, absurd, these 22 kRtis are well composed. One thing, none of the 22 kRtis show the tyAgarAja's passion. But, it is not correct to say that all his kRtis are inspirational. There are a number of kRtis where he has laboured with words. But, then, I wouldn't like to go too deep into that.

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

@vgovindan There are very few people who can analyze the kritis to the extent that you are doing lyrically. You should not say that you are unqualified. What you are done with publishing the compositions of the Trinity, most musicians will not attempt doing.

Although there are statements tossed around at conferences and lec dems that this kriti is genuine and that is spurious and this version is there in that manuscript or old book, and this has been changed and that has been retuned, so far all the secrets of musicology have remained only with the musicologists. In fact until recently no one looked at or tried to bring out the versions notated in those old texts.

But for the first time we the public are analyzing the lyric and melody in this detail. And when we do we get a lot of surprises.

I think I will open a thread only for the Thyagaraja kritis that have been unearthed in manuscripts. It will be very interesting.

kmrasika
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Re: Thyagaraja (Krithis)

Post by kmrasika »

@vgovindan Add one more to the list in post #455: "nī balamā, nāma balamā?" in ānanda bhairavi. This was popularized by late BMK.

shankarank
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Re: Thyagaraja (Krithis)

Post by shankarank »

rAma samayamu - madhymAvati : yAnta bhAnta niShAnta - Sri Mahaperiyava's explanation, discoursed by Smt. Vishaka Hari in Periyavalum SangItamum:

https://youtu.be/XCFGyHdUoYI?t=4099

mohan
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Re: Thyagaraja (Krithis)

Post by mohan »

SrinathK wrote: 02 Jun 2020, 11:36 Some of these kritis are available in manuscript, and from more than one source. The melodic style also matches.
Just because they are in a book, it does not mean they are authentic krithis.
I refer to two articles from two highly respected scholars.

1. See the interesting article by KV Ramachandran in the Music Academy Journal of 1938! He suggests (on the third page) that Singarachariar made up ragas for some kritis and this was subsequently used by others!
https://musicacademymadras.in/musicacad ... -31-33.pdf
More on this at http://guruguha.org/blog/2009/04/04/kvr-part-ii/

2. There is another article by TL Venkatarama Iyer (First published in 1939 and republished in 1995) which also questions Thyagaraja's krithis in vivadi ragas as per sampoorna mela system
https://musicacademymadras.in/musicacad ... -91-97.pdf

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

mohan wrote: 02 Jul 2020, 12:27
SrinathK wrote: 02 Jun 2020, 11:36 Some of these kritis are available in manuscript, and from more than one source. The melodic style also matches.
Just because they are in a book, it does not mean they are authentic krithis.
I refer to two articles from two highly respected scholars.

1. See the interesting article by KV Ramachandran in the Music Academy Journal of 1938! He suggests (on the third page) that Singarachariar made up ragas for some kritis and this was subsequently used by others!
https://musicacademymadras.in/musicacad ... -31-33.pdf
More on this at http://guruguha.org/blog/2009/04/04/kvr-part-ii/

2. There is another article by TL Venkatarama Iyer (First published in 1939 and republished in 1995) which also questions Thyagaraja's krithis in vivadi ragas as per sampoorna mela system
https://musicacademymadras.in/musicacad ... -91-97.pdf
@mohan Welcome back. Carnatic Corner used to be one of my go to places in previous years when I first took serious interest in CM.

You are actually late to the party. You may look at P Sambamoorthy's article (forgot year, 1956??) on the preserved manuscripts of Thyagaraja kritis, in which Dr. Aravindhan is researching and bringing out. One can compare the lakshanas of this with SSP and come to detailed conclusions. Much of this along with research into SSP is being published on guruguha.org. So far over 60 of Thyagaraja's kritis have been brought out and another 50-55 from SSP.

This information was not available for a long time. I have even been sharing some of these efforts by RSJ mami, RKSK, Ravi Rajagopalan and Dr Aravindhan in my raga posts.

Regarding all the apurva ragas of Thyagaraja, we do know that he did not name them. They were named by his disciples and this has led to quite a lot of changes and confusion in raga lakshanas as a result. As an example, look up kalyanavasantam.

So much information is now unearthed that we can even examine the MA journals and the discussions over ragas they had and get a good idea of how much information they had on ragas back in the day and how far they were able to conclude.

From this as well as the lyrical and melodic style one can spot the obvious fakes like the "sivaparadhamu seyu radu" And that entire set published in the name of "Apoorva kritis" which is confirmed fake.

Again for a detailed answer, it requires looking at it kriti by kriti, raga by raga, source by source. Stay tuned. I will resume writing on ragas at the first opportunity to get some free time.

vgovindan
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Re: Thyagaraja (Krithis)

Post by vgovindan »

tyAgarAja kRti - 'nenaruncinAnu' - mAlavi -

A doubt has been raised by someone in my blog on the kRti - link given - that MSS sings 'nidAnuDani' as 'nI dAsuDani' - video link given.

I have clarified, in the comments, that the usage 'nI dAsuDani' is wrong, because the meaning gets distorted.

It is an unfortunate instance of artists not adhering to the sense of the kRti. Over a period of time, things will be beyond redemption.

http://thyagaraja-vaibhavam.blogspot.co ... -raga.html

https://youtu.be/WtElqTEGscA

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

The MK scheme ( sampoorNa) names and swarams ( S R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 S) of Parent scales has established themselves. for nearly 100 years now. Ragam names in that scheme also are the most familiar. Even the ragam names in Asampoorna MK are easily identified only in their SampoorNa nomenclature. What is in a name? The notion of vivaadi notes and ragams and scales is clearly established. The Trinity have largely avaoided such ragams. It will be a good exercise to consider all the ragams used by Thyagaraja and Shyama Sastry ( a total of 650+ 50) and see how many of them are derived from vivaadi parent ragams. Very very few.

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

Music continues to evolve and push frontiers all the time. Of course it was Thyagaraja and Dikshitar who started the trend of exploring vivadi ragas. It was particularly Thyagaraja who did his part to popularize the sampurna mela system, though he did compose in a few raganga ragas.

Dikshitar has composed in 68 of the 72 asampoorna melas. It wasn't that they eschewed them on purpose as much as these ragas were never explored before them.

Now it is true that the ratio of compositions is lopsided in favour of shuddha madhyama ragas and that there are far fewer compositions in vivadi melas, truth be told, that is still a very unexplored area of Carnatic Music.

While we tend to talk about the Trinity from a viewpoint of conservative tradition, actually they were very innovative and they were pioneers exploring new areas in music and whose innovations became other people's traditions.
Last edited by SrinathK on 03 Jul 2020, 11:43, edited 1 time in total.

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

MD 's AsamppoorNa meLas ( apparently) have exact equivalent in SampoorNa MK system. It does not mean that he was using vivdi meLas much.
M1 set and M2 set are not relevant to vivdi meLas. There are exactly equal number of vivadi scales in each set, ( mathematics- naturally)
Why not spend some time to mention all the ragas used by MD ( about 500 songs- excluding noattu swara saahithyams), give the corresponding raga names in SMK, trace the janak ragam and check up if MD had used vivadi meLas much? No.

shankarank
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Re: Thyagaraja (Krithis)

Post by shankarank »

Aga!... tyAgarajar mridangattaitAn musiccA viTTu cendrAR !! :lol: . mattatellAM sishya pillaigaLOda vElai!
(So tyagaraja left only mridangam as music :lol: - rest is the doing of his Sishyas)

That much I get from reading K.V Ramachandran's article!

I don't think it is criminal of them to put his mudra on any compositions they might have added. If we don't feel inspired (musically or artha wise) lets not sing those compositions. Do we have all the 600 being sung? No! The parampara carries the weight of any guru and SrI tyAgarAja is no exception. We need to start treating the word parampara with the sacredness it deserves!

The name SrI tyagarAjA refers to his parampara , at least up until we became organized under secular banner.

ajaysimha
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Re: Thyagaraja (Krithis)

Post by ajaysimha »

Hello Rasikas,

Randomly read that - in sadguru thyagarajar's compositions the tune of anupallavi repeats in charanam.

I could relate to endaro mahanubhavulu Krithi.

Looking for more such Krithis, please share your inputs.

Suryasriram
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Re: Thyagaraja (Krithis)

Post by Suryasriram »

ajaysimha wrote: 21 Dec 2020, 23:54 Hello Rasikas,

Randomly read that - in sadguru thyagarajar's compositions the tune of anupallavi repeats in charanam.

I could relate to endaro mahanubhavulu Krithi.

Looking for more such Krithis, please share your inputs.
Most of Thyagarajaswami's songs follow this pattern - in fact, it is easier to list out the kirtanas which differ in tune.
The pattern usually seen in his kirtanas is the tune of the anupallavi repeats in the last two lines of the charanam, which can be a 4-lined or an 8-lined charanam. We can give several examples of this - Anadhudanuganu, Pakkala Nilabadi, Chakkani Raja, Undedi Ramudokkadu, Nadasudharasambu, and practically all the songs in Deshadi Talam; and in 8 line charanams, like Anyayamu (presently sung tune), Videmu Seyave, Venuganaloluni (slight difference, but overall the same tune), and so on - hundreds of songs.

Sometimes he experiments with this in the longer charanam where he expands the melody of the two-lined anupallavi in the last four lines of an 8-lined charanam. We can see this in kritis like Ksheerasagara Shayana, Sundari Nee, etc.

SrinathK
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Re: Thyagaraja (Krithis)

Post by SrinathK »

ajaysimha wrote: 21 Dec 2020, 23:54 Hello Rasikas,

Randomly read that - in sadguru thyagarajar's compositions the tune of anupallavi repeats in charanam.

I could relate to endaro mahanubhavulu Krithi.

Looking for more such Krithis, please share your inputs.
Other than a few kritis like sri raghuvara apramEya or brochEvarevare, this is like almost all of his compositions!!! :lol:

nAdopAsaka
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Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

sri ganapatini doesn't seem to follow this pattern ?

ps it is rather interesting (if true) that some or all of the ghana panchaka kritis display this feature ?

bhakthim dehi
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Re: Thyagaraja (Krithis)

Post by bhakthim dehi »

You can read this post to get an answer.

viewtopic.php?f=10&t=28879&p=312938#p312938

ajaysimha
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Re: Thyagaraja (Krithis)

Post by ajaysimha »

thank you all, for the inputs on the topic.

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

There are 950 mp3 files of Thyagarajs Swami's compositions ( AUDIO)
in the following links.'
Hopefully, they are working.
------
https://arvindsdad.blogspot.com/2020/02 ... rthis.html
-------------

The Lost Melodies
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Ghana Raga Pancaratna

Post by The Lost Melodies »

The ghana raga pancaratnas of Svamigal in Nata, Gaula, Arabhi, Varali, and Sriragam are much famous and requires no introduction. Many books and lectures are available to understand the lyrical beauty and music of these kritis. We do have some anecdotes associated with these kritis.
The lesser-known fact about these kritis includes the changes that have crept in, various pata-bedhas related to sahitya and sangita of these kritis. Here is a lecture covering these aspects.

https://www.youtube.com/watch?v=IcEFk_HFwkA

Ananthakrishna
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Re: Ghana Raga Pancaratna

Post by Ananthakrishna »

Was an excellent lecture Aravindh Ranganathan sir! Unfortunately due to my limited knowledge of Tamizh I was unable to follow the lecture completely. I hope that I soon acquire a better proficiency in Tamizh, so that I can learn from the various talks like this one that you have given! The little I was able to comphrehend was an eye-opener, in terms of the different styles of presenting each ratnam in the Ghanaragapancharatnam set, and also the way these Ghana ragams have evolved to acquire their present form.

The Lost Melodies
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Re: Ghana Raga Pancaratna

Post by The Lost Melodies »

@Ananthakrishna

Much happy that you enjoyed the lecture.

RasikasModerator1
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Re: Ghana Raga Pancaratna

Post by RasikasModerator1 »

On request, The discussion is being moved to vaggeyakaras section - Thyagaraja (kritis).

rajeshnat
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Thyagaraja

Post by rajeshnat »

The Hindu Writeup of the story behind pancharatna on Feb 12,2021
https://www.thehindu.com/entertainment/ ... 810924.ece.

I am sure Aravindan(TLM) who is here has given a great lecdem few posts back (I have not heard that lecdem yet) , may be if he has time few textual points as bullet points can also help all of us

ajaysimha
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Re: Thyagaraja (Krithis)

Post by ajaysimha »

Hi Rasikas,

I wanted to know about the sadguru thyagarajar's approach to vivadi ragas.

Please share with me info., articles or links.

Thanks,
Ajay Simha

rr2000
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Re: Thyagaraja (Krithis)

Post by rr2000 »

Dear Rasika's,

I have been creating lyrical videos with tamil translations for popular Tyagaraja kriti's. For example,

https://www.youtube.com/watch?v=2WZVg4vN36E

Would like some comments. Please tell me if it is not appropriate to post such links, as I am new here. Tks!

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

p-481
-----
@rr2000
Saw the video upload. Wonderful Thamizh transltion and presentation.
If possible, kindly edit the video to give more time for the charanams and less for Pallavi. Better still, just add the thamizh translation as 'about' of the upload. Grand effort. Thank you.

rr2000
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Joined: 18 Jan 2021, 23:46

Re: Thyagaraja (Krithis)

Post by rr2000 »

Thank you.. This rendition was quite tight, so could not do much. But will consider your suggestions in subsequent episodes. Here are few more:

https://www.youtube.com/playlist?list=P ... WM9sGEPgGR

Tks for the interest..

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

I would like to know if there are any websites/blogs, which give a rough translation of ALL Thyagaraja Swami's compositions in Thmizh .
( similar to English translation in the book ( archive) 'Spiritual heritage of Thyagaraja. ( the translation part only).
I think it will be a very unique attempt if we have a thread exclusively for Thyagaraja's audio clips with gist/ translation , in English and Thamizh.
( Sri.V.Govindan's blog will be the model with added links to music)
People from Andhra and Telengana and Telugu speakers in Tamilnadu and Karnataka do not have any problem in understanding the compositions . But, other people in Tamilnadu have this serious problem. More so with some Sanskrit compositions of Thyagaraja.
Now that there are so many uploads of Thyagaraja kruthis in the web in public domain, it will be nice to have a separate thread giving lyrics in transliterated English , meaning in English and Thamizh.
The music is more important generally but in the case of Thyagaraja Swamy, his music was a vehicle for expounding Devotional way of life and his spiritual experiences.
We can limit the audio clips to rendering of the kruthis without any 'manodharma' embellishments and commentary. as far as possible.
For people who are interested in word-by-word meaning , there is always the blog site by Sri.Govindan ( Thyagaraja Vaibavam).
The admin are requested to provide sub-headings for each of the Trinity's compositions.
We can give priority to the renderings by the doyens of the decades from 1930 to 1970. to avoid controversies. ( Chembai Swamy, ARI, MVI, Musiri, SSI, MMI, GNB, Satthoor, Alatthoor, MMD, MSS, DKP, NCV, MLV)
This is not an approach from Concert platform angle.
A sample in the next post. .
Last edited by RSR on 25 Apr 2021, 16:00, edited 2 times in total.

RSR
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Re: Thyagaraja (Krithis)

Post by RSR »

jAnakI ramaNa-SuddhasImantini

https://youtu.be/qWUe4SdQ390
Smt.D.K.PattammaaL

(kindly skip advts if any)

In the kRti ‘jAnakI ramaNa’ – rAga SuddhasImantini, SrI tyAgarAja sings praises of the Lord.

pallavi
jAnakI ramaNa bhakta pArijAta
pAhi sakala lOka SaraNa


anupallavi
gAna lOla ghana 1tamAla nIla
karuN(A)lavAla suguNa SIla (jAnakI)


caraNam
rakta naLina daLa nayana nRpAla
ramaNIy(A)nana mukura kapOla
bhakti hIna jana 2mada gaja jAla
3panca vadana tyAgarAja pAla (jAnakI)


Gist

O Consort of jAnakI! O Wish Tree of devotees! O Refuge of entire Worlds!
O Enjoyer of Music! O Dark blue hued like (bark of) tamAla tree! O Ocean of Compassion! O Virtuous by nature!
O Red Lotus petal Eyed! O King! O Lustrous Faced! O Lord with mirror like cheeks! For arrogant elephants called devotion-less people, You are like Lord Siva! O Nourisher of this tyAgarAja!
--------------------------------------

Please protect me.
-------
பொருள் - சுருக்கம்
ஜானகி ரமணா! தொண்டரின் பாரிஜாதமே! அனைத்துலகப் புகலே!
இசை விரும்பியே! தமால மர நிகர் கரு நீல வண்ணா! கருணைக் கடலே! நற்குணசீலனே!
செந்தாமரை யிதழ்க் கண்ணா! கொற்றவனே! அழகிய வதனத்தோனே! கண்ணாடிக் கன்னங்களோனே! பக்தியற்ற மக்களெனும் மதக் களிறுகளுக்கு ஐம்முகத்தோனே! தியாகராஜனைப் பேணுவோனே!
(என்னைக்) காப்பாய்.
==================================
SOURCE
http://tyagaraja-vaibhavam-tamil.blogsp ... uddha.html

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Thyagaraja (Krithis)

Post by RSR »

Oh Mind ! Give up the siddhls (yogic achievements)
which are perishable and bring you rebirth. Perishable are
the fruits of the study of Sanskrit, drama, poetics, vedas,
puranas, and of the performance of sacrifices, Japa and
•Tapas;

The (real) road is the worship of Rama; (then) all that
one (the devotee, does, the Lord will accept with approba-
tion and vouchsafe to him the highest state that is everlasting.


https://youtu.be/eiR4OfgAqx8
Smt.M.S.Subbulakshmi
----
upload by kartheek sharma

ksheenamai dhiruga
Mukhaari
mukari

ajaysimha
Posts: 831
Joined: 19 Apr 2018, 18:16

Re: Thyagaraja (Krithis)

Post by ajaysimha »

Hi Rasikas,

I had a question in the Krithi - sri rama padama (amruthavahini)

Thyagarajar uses the word Shura ahalyanu in charanam

Is there any reason to use the word Shura as adjective to ahalya?

Meanings available on the net, just give literal translation, Please let me know your thoughts.

Regards,
Ajay Simha


RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Thyagaraja (Krithis)

Post by RSR »

Thyagaraja Swami does not seem to have composed any Varnams, Tillanas and JavaLis. Are there any? What was his perception about these types of compositions?
@Lakshman has listed nearly 1200 varnam compositions in Carnatic site but only very few can be found from the Trinity.
Any clarification, as to why it is so?

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Thyagaraja (Krithis)

Post by shankarank »

If rAgA savarUpa uniqueness is ever a principle, this certainly does not differentiate much from Darbar. Do the notations have things to indicate that this needs to be sung like Darbar?

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

Only the tyAgarAja can ask (like a child)...does the Lord lose anything in coming to his side !

Although the tyAgarAja is not thought of as a vainika, this particular rendering of "eduta nilaCitE" (Sankarabharana) suggests otherwise..

veena vidwAn M.R Jagannatha

https://www.youtube.com/watch?v=FXyS4j39BMc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

Only the tyAgarAja thinks of both kAma-janaka (viSnu) and kAma-dahana (Siva) in the same breath in his timeless.. kAma-bhOji !

O rangaSAyee

In fact, the essence of the song is the demand that “kAma-janaka” show some “kAma-dahana”... that the lord ranganAtha suppress his amorous affection for the Sri-dEvi to pay attention to the tyAgarAja.

Cheeky but effective, particularly when expressed with the rAga kAmbhOji..

A rare example which refers to BOTH vaikuntham and kailAsa (and for good measure bhU-lOka)

masterfully rendered by the young vainika ramana and his able pakkavAdya ..
the veena sounds like a thousand bells going off !

many thanks to the artistes and upload agencies

https://www.youtube.com/watch?v=6Dqrd4AisAQ

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

Only the tyAgarAja enshrines with rAga mukhAri the fabled “mukhA-mukham” (Facetime) of Sabari with the Lord.

And he ensures the Facetime image further by singing “ina-kula pati sa-mukham”.

The comparison to the “wives of sages” ..."dAntulu varakAntalu" suggests the tyAgarAja is thinking also of the sitA-dEvi’s unwavering faith.

Indeed there are similarities between the broken-down old woman, imprisoned by age and the frightened young one, imprisoned by suspicion, both holding on.

But there is little doubt that when he says “kanulAra sEvinCi kammani phalam..” , it is the tyAgarAja himself who is offering the sweet fruit !

Verily, the tyAgarAja , the sitA-dEvi, Sabari ...all have become metaphors for worship in the nAda-sphere..

entani nE in rAga mukhAri

veena viDUSi k.S subhASini
https://www.youtube.com/watch?v=O2WovWYdE0g

BMK
https://www.youtube.com/watch?v=syRn-39kQ0o

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

kanaka-vasana vs. kanaka-mrga – what is the true measure of “attraction” or mOhana

Only the tyAgarAja describes his own “mOhanam” BY the lord rAma as if it is mAriCa, the wondrous “deer”, charming the sitA-dEvi !

“nannu pAlimpa nadaCi vaCitti vO” is one of the most widely heard mOhana kritis, its gist being the vision that the glittering lord has literally “walked up” to save the tyAgarAja...

Now, of course no one expects that the lord would take a cab or uber or fly in, but I show below how this particular verb “nadaCi” for “walk” as well as several other aspects of this famous kriti have a rather unique basis in the scripture.

1. nadaCi vaCitti vO – he who came walking

According to the aranya-kAnda of the rAmAyana, the shape-shifting asura mArICa was commissioned by rAvana to take the form of a magical deer and “walk up” to the sitA-dEvi’s presence, as part of the nefarious scheme to lure her away from safety.

The verb used in particular is “Cara” = chara, which denotes also the aspect of casually walking, ambling.

the rAmAyana describing mArICa says
“sa rAvana vacah SrutvA mArICO rAkSasa tadA , mrigO bhUtvA ASrama dvaari rAmasya viCa-Cara ha”
i.e. ..Upon hearing rAvana's words the demon mArICa then became a deer and ambled freely in front of the lord’s ASrama”


2. vanaja nayana - he who is lotus eyed

vanaja nayana is obviously equivalent to doe-eyed similar to “rAjiva-nayana” where noticeably “rAjiva” also means both deer (doe) and lotus

3. sura pati nIla maNi nibha tanuvutO – he whose body is bedecked with blue-colored gems – the indra-nIla (blue) sapphire

In general lord rAma is “kanaka vasana” or of golden appearance (noted for e.g. in the varAli "kana kana ruCira"). The magical deer is also “mostly” golden (e.g. the “kanaka-mrga” of the mahArAjas "bhAvayAmi raghurAmam")

But both carry a blue-hue as well !

The blue-hue is ascribed to the indra mani jewels. The same usage is also seen in the mukhAri “muripEmu galigE”...

In both the mOhana and the mukhAri, the tyAgarAja uses “sura-pati” as the synonym for “Indra”

Perhaps he was trying to meet the poetic meter for the words that follow i.e. “nila maNi”...
or perhaps he was trying to throw us of the scent ?

Because in the rAmAyana the word “Indra-nila maNi” (the fabled blue sapphire) appears specifically for the wondrous deer mAriCa !!

It appears twice , once for the blue-tipped ears and once for the blue colored stomach of the magical deer, as shown below..

the rAmAyana describing mArICa says
indranIlOtpala shravAh , indranIla nibha udarah
i.e....the deer with ears of the hue of a blue-lotus colored sapphire, the shine of its stomach is like that of the Indra-nIla-maNi gem


4. karamuna Sara - he who is holding Sara =arrows

The word “shara” is phonetically close to “sarah” which means “necklace = string of pearls”
whereby “karamuna sarah” means “he whose hands are decked with strings of gems”

Regarding “sarah”, no less an authority than bhavabhUti in the Uttara rAma Carita says
“ayaṃ kaṇṭhE bAhu SiSira masrinO mauktika sarah”

where the lord rAma is describing the cool and smooth (SiSira-masrino) string of pearls/necklace (mAuktika -sara) on his neck (kanthE) and hands (bAhu). mauktika is derived from muktA=maNi=pearl

the rAmAyana describing mArICa (the deer) says strikingly !
muktA mani vicitra aNgam
i.e. the deer whose LIMBS are surprising as though studded with pearls and gems


5. kOdaNDa kAntitO – he who has a brilliant, resplendent bow

the rAmAyana describing mArICa says
indra Ayudha savarnena puChEna Urdhvam virAjitah
i.e...the tail of the mAriCa deer is stated to be arched as Indra’s bow the indra-dhanuS , which is also a synonym for the colorful rain-bow !


6. uramuna mutyapu sarula CayamutO – he who bears an array of pearls on his chest

the rAmAyana describing mArICa says
manohara snigdha varno ratnaih nAnA vidhaih , rAkSaso jaato mrigah parama shobhanah,
i.e...the dazzling deer (actually a rAkSasa) that bears myriad gems (ratna)


dharaNi tanaya - which means “child of the earth”

In the scripture the word “mrga” is generic for all animals , which are all considered “children of the aranyam”, as in “aranyAni tanaya”, the forest being the mother to all such creatures

So at least half-dozen attributes of the lord (in the kriti) can be mapped logically to the “deer” of the scripture.

Which brings us finally to “tyAgarAja-arCita” – the pujA by the tyAgarAja

I started this post by noting the lord’s charming OF the tyAgarAja, and its analogy to the magical deer bewitching the sitA-dEvi.

But in reality it is the arCana by the tyAgarAja that is the true mOhanam OF the lord.

Shape-shifting rAkSaSA’s appearing as golden deer, dappled with jewels and gems with rainbow like tails and the like , that are employed by other demons ..these are all of course terrific, imaginative illusions of ancient Hindu thinking and likely also metaphors for human conditions of avarice and temptation.

Maybe the multiple similarities discovered above are all mere, happy coincidences.

However, to the nAda-upAsaka, the following is much more compelling.

The wondrous deer is the lynchpin of the rAmAyana.

Without it there is no abduction and no rAmAyana.

And without the rAmAyana there is a vastly diminished tyAgarAja, (if he exists at all !)

The deer, the mrga, therefore, is the vital key to “attract” the sitA-dEvi away from her lord.

As a measure of attraction, the tyAgarAja has glimpsed that this is indeed a very powerful magnet.

And this becomes the measure by which the tyAgarAja gauges his own ability to attract the lord.

Scores upon scores of the tyAgarAja’s kritis are about summoning or beckoning the lord, by means child-like and colloquial and beautiful.

But it is only in this timeless mOhana that the attraction is mapped to an attractive force equivalent to that exerted on the sitA-dEvi, by the wondrous deer, as reported in ancient Hindu scripture.

By listening to the kriti, it becomes clear the tyAgarAja succeeded ! and all nAda-upAsakas are enriched forever.

nannu pAlimpa - mOhana

MSS (who also does rAgam-tAnam , fine violin by kandadEvi alagiriswAmi)
https://www.youtube.com/watch?v=SiBtprlerEo

veena S bAlaCandar
https://www.youtube.com/watch?v=fclZJxpAruk

violin MSG
https://www.youtube.com/watch?v=yMz3aIpQGgA

flute mAli
https://www.youtube.com/watch?v=1NpPjmZ9SSw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

the (graha) bhEda within the “swinging” hindOla

Only the tyAgarAja also thinks of “gAna viCakSana” = “music skill” when he thinks of the “sapta-svara” in the panCa-svara (pentatonic) hindOlam “sAmaja vara gamana” !

Why ?!

To the nAda-upAsaka, the great vAggeyakAras are the very messengers of the deities. Their every word carries messages and teachings because each word, its idea and its melody has been forged in the crucible of divine communion. What seem like coincidences are merely the lords ways of remaining anonymous, as another visionary has said.

So why is the tyAgarAja invoking “musical skill” in this “simple” pentatonic scale kriti ? The kriti itself gives the clue !

To the nAda-upAsaka the explanation is that the tyAgarAja is signaling the possibility of graha-bhEda (tonic note shift) which leads from the rAga hindOla to the other four pentatonics namely suddha sAvEri (ga) udayaraviCandrika (ma) mOhana (dha) and madhyamAvati (nI).

It would take some musical skill (i.e. gAna viCakSana) to perform this tonic note switch.

Post # 484 of the Mutthuswamy Dikshitar thread described the oddity of “sandhyA dEvim sAvitrIm” (the devakriyA kriti aka suddha sAveri) and “sAmaja vara gamana” (hindOlam) BOTH pentatonics each referring to the “mAtrkA sapta svara” aka “mAtrja sapta svara”.

Post # 510 of the Mutthuswamy Dikshitar thread also discussed one interpretation of the Dikshitars stance on graha-bhEda in terms of the rAga mudras etc.

But it is this hindOlam kriti of the tyAgarAja and its words that are most enlightening.

Indeed, the phrase the tyAgarAja gives in the anu-pallavi “sA-ma-ni-ga-ma-ja-su-dhA” identifies the 4 tonic notes.

Taking a page out of the Dikshitar rAga mudra embedding technique (both direct or inferred) the following can be observed.

madhyama-Avati – from the word “sAma” which is equivalent to calmness or no-extremes and the middle ground , i.e. madhyama,.

Suddha sAvEri – from “sAdhu-hrta” for Suddha (the pure-minded/hearted sAdhUs) and “sArasAbja-pAla” for sAvEri since the dawn/sun is considered “friend/protector of the lotus”

udaya-ravi-cAndrika – from the word “svIkRta yAdavakula” i.e. the ascent of krSnA as the king (ravi) of the Candra or lunar dynasty (yAdavakula).

mOhana - Of course mOhana appears by itself.

the apparent movement (gait) of the kriti and the rAga

For two hundred years it has been generally thought that the swaying, swinging, majestic elephant-like gait of the lord is the reason for the usage “sAmaja vara gamana” in this famous kriti.

The name can also refer to the “approach” (gamana) of the saviour of the elephant i.e. the “gajEndra rakSaka” = viSnu. (e.g. sAmaja rAja vara-duda nI” in the Emi nEramu )

In fact, the word hindOla itself is related to the “krSna-jhUla”, the celestial “swing”= oonjal on which the cowherd woos his many admirers. So the rAga choice of the tyAgarAja linked to this motion/movement IS NOT random.

But the “movement” is not just about the gait of the lord or his rocking back-and-forth on a swing.

the true exaltation of “sapta svara nAdAcala dIpa”

To the nAda-upAsaka, the rahasya/bhEda of this kriti lies in the exaltation of the light of nAda through the seven notes, the sapta-svara.

Its real “movement” is moving from one pentatonic scale to the next , which is realizable if the graha-bhEda as described above and embedded in the kriti is performed by those with “gAna viCakSana” (musical skill).

excellent sAmaja vara gamana renditions (without any kind of graha-bhEda of course)
many thanks to artistes and upload agencies

vidwAn viSnudEv N
https://www.youtube.com/watch?v=JYkwlXM3EMc

ranjani-gAyatri
https://www.youtube.com/watch?v=Lyxust_73Bo

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

short follow-up to the hindOlam post # 495

the usage of the word "viCakSana" as "expertise" in classical music is indelibly tied to musical grammar and rAga "identifiers" - (i.e. rAga lakSana)

Notably the Dikshitar says “lakSya lakSaNa bahu viCakSaNa” in the "akSayalinga vibhO" SankarAbharanam.

in the hinDolam, the usage “sAma nigama ja sudhA-maya gAna viCakSana” is the call for this expertise/skill (gAna viCakSana) to be shown in expounding the nectar (sudhA) of the seven-note based sAma path.

The fact that the 4 graha swaras (to be used for doing this) are described in that phrase has been pointed out in post # 495.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

the less understood “dEvi” kriti of the tyAgarAja

Only the tyAgarAja is the son of lord rAma at the same time as he is brother of lakSmaNa and bharata !

How did this happen ?!

The “apparent” discrepancy shows up when he sings in the (less understood ) dEvi kriti

“sitamma mAyamma , Sri rAmudu mA tandri”.
“vAtAtmaja saumitri vainatEya ripu-mardana, dhAta bharatAdulu sOdarulu mAku O manasA”

WHY did this happen ?!

There is actually no confusion, provided the rAga is lalitA !

Because , to the tyAgarAja (and to the nAda-upAsaka), when the sitA-dEvi becomes synonymous with the lalitA, the overarching mother, ALL other deities become just “relatives” ..under this transcendent mother ....even paramESa, ganESa, guha, etc. are all “bAndhavas” = sambandhis..

Of course "mahA-lakSmi" is also a name in the lalitA sahasranAma and in this form, viSnu is her consort.

Now the intrinsic rAga choice for this famous kriti as lalitA makes complete sense, (it is much less realistic if this is in vasantA, as is typically sung, by legions of unthinking musicians )

The great and true vAggeyakAras always maintain fidelity and integrity, in their pujA and their thoughts.

The lalitA kriti begins with the sitA-dEvi occupying the tyAgarAjas thoughts and immediately the rest of his world dissolves into the brotherhood of bhAgavatAs, all united in the worship of the lalitA dEvi.

Indeed it takes only about a score of melodiously chosen words of the supreme nAda-yOgi to encompass this entire fraternity..

"paramESa vasiSTha parASara nArada Saunaka Suka, sura-pati gautama lambOdara guha sanakAdulu
dhara nija bhAgavatAgrE sarulEvarO vArEllaru, vara tyAgarAjuniki parama bAndhavulu manasA"

viDUSi vEdavalli illustrates the rare (and more accurate !) lalitA version

https://www.youtube.com/watch?v=AWe2liaFb_U

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

vAg-geya-kAra vs. vAg-CEla-krta

Only the tyAgarAja accepts that though the words are his, the musical bliss of nAda is always only received !

He says so himself in “ni dayaCE rAma” which summarizes this particular crux of nAda-Ananda (a Twitter-worthy 20 words or less kriti ).

As he says..

“tyAgarAja vAg-CEla-Avrta” – tyAgarAjas words are the garment ...but it is the lord who is of the form of nAda (“nAda brahmaAnanda rasa-AkRti, vara mrdu bhASa”) and whose ornament is sweet music (“su-svara maya bhuSa”).

The short gem of a kriti reveals another facet !

In Hindu poetry/music, there is only one primordial and iconic “mrdu bhASa”, the sweet-song, i.e. the bhagavad-gitA.

Of course the gitA is unquestionably also the shining example of "received" inspiration and wisdom.

Indeed, the Dikshitar also pays tribute to the gitA as “madhura kavitA” .

In his budha graha kriti, “budham ASrayAmi” , budha as preceptor of the lunar race is the giver “madhura kavitA pradam” of the mahA-kAvya nAtaka, the mahAbhArata and its most iconic song, of course, the gitA.

Post # 500 of the Mutthuswamy Dikshitar thread shows how the rAga choice for the budha graha kriti (nAtakuranji) stems from this connection between budha and the epic, i.e. the “nAtaka”.

Similarly the reference to the gitA in “ni dayaCe rAma” does not come by itself.

For the nAda-upAsaka, there is absolutely no question the rAga HAD to be “yadukula kAmboji”, with its inbuilt reference to the lord krSnA, the principal protagonist of the mahA-nAtaka and giver of the gitA, an early example of the nAda-sampradAya.

The great vAg-geya-kAras (even if only vAg-CEla-krta’s or “word-givers” in the tyAgarAja’s estimation) are always in “tune”.

ni dayaCE rAma - yadukula kAmboji

vidwAn rAmnAd K (a senior vidwAn of yesteryear)

https://www.youtube.com/watch?v=E6tdTAXdo90

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

Only the tyAgarAja uses the construct “Aru-nn-Okati” (or 6 + 1) to describe the seven swaras !

Undoubtedly this is based on the word “Sad-ja”, which literally means the 6 born of the one. (as in shad =Sad = 6 and ja/aja = born/birth)

Why did he pick this 6+1 idea ?

Because, the hugely-sensitive nAda-yOgi sees no grief in his fantastic, joyous Arabhi, “nAda sudhA rasambilanu, nara-AkRti-AyE” , where the lord acquires “human form” to represent nAda itself.

So he avoids using the Telugu word “Edu” for seven which can also mean “weep” ..!!

The 6 swaras (i.e. from the rishabha to the niSAda) are considered to “emerge” from the Sadja = the sA in classical treatises, linked also to aspects of “grAma” theory.

In this spectacular vision of the tyAgarAja, not only is the lord himself nAda, the lords bow kOdanda is itself all rAgas, and the 6+1 swaras are the bows bells, the bows 3 strings are the 3 musical classes “dura-naya-dESya” and its arrows mark unwavering, steady time !

svaramul-Arunn-okaTi ghaNTalu, vara rAgamu kOdaNDamu, dura naya dESya-mu tri guNamu
nirata gati Sara-murA

Some bow !, some arrows !,... indeed the lord as nAda is the super-Cupid, and the tyAgarAja (and all nAda-upAsakas) are completely smitten.

In addition the kriti makes a rare, direct reference to the word “sangati” ! considered as one of the tyAgarAjas major advancements.

sarasa sangati sandarbhamu gala

where he actually points out the importance of musical variation (sarasa sangati) that brings out relevant and consistent meaning (sandarbha)..

The great poet did not feel compelled to merely use “sapta swara”. No question, the phonetics of the word “Aru” sit better with the other words used e.g. nAda and sudh-Arasam. Perhaps the tyAgarAja may have seen images/pictures of the kOdanda bow showing 6 small bells and one larger one festooning it. Having bells on a hunters bow somewhat defeats its silent advantage but the lord is no ordinary hunter.

In any case, the context of the kriti with the lord emerging as the source and human-form of nAda is well aligned with the 6 swaras beginning from the first one.

To the nAda-upAsaka, it is therefore no coincidence that the word “Arabhi” for the rAga chosen also means “beginning” , Arambha etc..!

fine renditions are available, many thanks to artistes and upload agencies

nAda-sudhA-rasambilanu – Arabhi

N rAvali
https://www.youtube.com/watch?v=_ozGgnltxoE

Hyd Bros.
https://www.youtube.com/watch?v=XNsh5GzYpGA

vidUSi sowmyA
https://www.youtube.com/watch?v=avD9BEhwUWw

nice flute E. raghunAthan (Arabhi always sounds good on flute)
https://www.youtube.com/watch?v=7gfv89YyDdg

TS Kalyanaraman
https://www.youtube.com/watch?v=pfR5Yjyb-_o

LGJ violin
https://www.youtube.com/watch?v=pptCTHDr2yk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Thyagaraja (Krithis)

Post by nAdopAsaka »

who is the Guru in “guru-lEka Etuvanti guNi” ?

Only the tyAgarAja as “sanyAsi” and “king of renunciation” describes his “spiritual Guru” as the skanda/murugA !

The famous gauri-manOhari kriti “guru-lEka” has nothing to do with “musical” gurus !

It is a deeper and deliberate invocation to the skanda/murugA as “guru” for BOTH the tyAga-rAjas, i.e. the deity Siva and the vAggeyakAra.

Several descriptors in the kriti give this clue (phrases in red are extracted below )

Let me count the ways..

1. Even the many-skilled (Etuvanti guni) deity , the Siva needs a Guru to find the truth.
2. “hrd-rOga” is a definite synonym for “tApa-traya”
3. “gOttanu” for “destroying” ( the darkness of hrd-rOga) is certainly the equivalent of the sunlight dispelling darkness as “agyAna dhvAnta savitrE”
4. “tatva bOdhana ” is the specific word applied to the guru skanda/murugA giving the tatva-upadESa.
5. Indeed, the tyAgarAja tellingly adds the word for nAtha = kApAdu = protector when he gives this reference, "tatva bOdhana jEsi kApAdu.
6. In fact for the swAmi-nAtha at swAmi-malai , the Dikshitar specifically says the light-giving “guru” skanda/murugA is tApatraya harana nipuna, tatva-upAdESa kartre and ALSO guruguhAya-agyAna dhvAnta savitrE in his Sri subrahmanyAya kAmbOji.
7. Further, the nAda-yOgi tyAgarAja completely identifies with the deity tyAgarAja (Siva, the king of renunciation) in his own SACRIFICE as a sanyAsi, particularly when he says he is bereft/disconnected from all family, wealth and connections “tanuvu-suta-dhana-dAra bAndhavu CEdaru

8. And finally the clincher

The rAga used is “gauri-manOhari”, eminently suitable for “the skanda/murugA” as the delight of the dEvi !

To the nAda-upAsaka, there is absolutely no coincidence here unless of course “coincidences are merely the lords way of remaining anonymous”, as has been noted before.

guru-lEka Etuvanti guni - in rAga gaurimanOhari

VVS violin
https://www.youtube.com/watch?v=Se0V3u1QBIM

MSS
https://www.youtube.com/watch?v=m_QzKdHr3sU

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