Jayachamaraja Odeyar (Mysore Maharajah) - Part II
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Regarding the date of Adhisankara as told by Kanchi math. Kanchi math records say that Adhisankara flourished from BC 509 to 477. But Sankara and his contemporary disciple Sureswara refer the Buddhist scholar Dharmakeerthi by name. Dharmakeerthi has been placed in AD7/8th century by Historians. He is referred in Tibet as a contemporary of Tibet king Strang-nbo who ruled in 8th century AD. So Sankara, who quotes Dharmakeerthi, could haved lived only after him, ie. in 8th Century AD. This completely strikes the Kanchi Math acharyas' list at its bottom.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
sir,
Pl reupload the links or share it on another link(mediafire)
Pl reupload the links or share it on another link(mediafire)
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Sirs,
Pl reupload all the wodeyar kritis.it will be useful to many rasikas like me.kindly use another link if error perisist.
bk_7in@yahoo.com
i'm in deperate need of all those kritis
Pl reupload all the wodeyar kritis.it will be useful to many rasikas like me.kindly use another link if error perisist.
bk_7in@yahoo.com
i'm in deperate need of all those kritis
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Pl reupload the files from rapidshare. Or pl upload in mediafire or so.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
I suggest that you can visit my blog 'E-SWARA at at http://myblogkumara.blogspot.com/. In the side bar there are links to my Media fire account. You can choose Audio I. You can go in there and if you browse you can find a few of Wodayar's compositions which you can download.bkishore wrote:Sirs,
Pl reupload all the wodeyar kritis.it will be useful to many rasikas like me.kindly use another link if error perisist.
bk_7in@yahoo.com
i'm in deperate need of all those kritis
venkatakailasam
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
thank u sir, i will scout for it sir
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Book on Mysore Maharajah's compositions is to be released:
http://www.deccanherald.com/content/175 ... osers.html
http://www.deccanherald.com/content/175 ... osers.html
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Text of 97 Jayachamaraja Odeyar compositions has been compiled in Sanskrit and English script with diacriticals by Dr PP Narayanaswami and is available at
http://www.musicresearch.in/categorydet ... ?imgid=161
http://www.musicresearch.in/categorydet ... ?imgid=161
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
To add to Mohan's posts:
http://www.thehindu.com/todays-paper/tp ... 237009.ece
Book is in Kannada and is available with Prism Book House, Banaglore. (praneshs@prismbooks.com)
http://www.thehindu.com/todays-paper/tp ... 237009.ece
Book is in Kannada and is available with Prism Book House, Banaglore. (praneshs@prismbooks.com)
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An Adept King Composer – Jayachamaraja Wodeyar
Dear Rasikas,
Two days ago, I got a few minutes with a lovely book of essays, "Sangeeta Samaya" by Vidwan S.Krishnamurthy (grandson of Mysore Vasudevacharya). I was very happy to read the chapter on Wodeyar's compositions. I decided to share excerpts with you all, and so here goes my attempt at translation. I of course link the original Kannada text I scanned, here:
https://www.dropbox.com/s/gdwf0vp02i9ui ... itions.pdf
I will do the translation in three parts. First Part:
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
What inspired the king to get into composing was a confluence of several qualities in him – his incomparable devotion, his special love for Sanskrit, knowledge of Tantrashastra, Mantrashastra, a keen interest in subjects of Vedanta, extensive competency in music, and an attitude of service without recompense. One day, after seeking the blessings of my grandfather (Mysore Vasudevacharya, his guru), he began this mammoth task. Once the sahitya or lyric of the composition would be ready, there would be a discussion of what raga would best bring out the mood and feeling of the lyric, which tala would be appropriate, what should be the musical idiom/syntax, how should the nade (rhythmical progression) be- a discussion that he would hold with my grandfather. As was the practice, I would notate the swaras of the song in Western notation and present it to him. The king would then play and study the song on the piano with that notation. By this time, the king was also quite familiar with the Carnatic system of swara notation and so I would present the song in that form as well. He would then ask me to sing the song and listen to it. He would then discuss his reactions with grandfather. Thus would the song be finalised and then be passed on to musicians.
As per tradition, the task of Maharaja’s compositions began with the prayer to Vighneshwara (Ganesha). “SrimahAgaNapatiM bhajEhaM” in Athana raga took shape on 17th August 1945. From then, the compositional exercise continued till 19 Dec. 1947 and the song that took shape that day was “SriranganAtha pAhimAM kRupAlaya” in Kalyanavasantha. All together 94 compositions with the mudra “srIvidyA” were created by the Maharaja.
Wodeyar was a SrIvidyA upAsaka(follower/practitioner). Hence his mudra “srIvidyA””. The tradition of SrIvidyA worship is very ancient. The yantra (mystic design) of “SrIchakra”, Panchadashi or Shodashi mantra (mystic prayer), the rituals connected with “srIvidyA”, are the three components of this worship. “srIvidyA” practitioners are rare. But those who have faith in “SrIchakra” are many. They have faith that having even one “SrIchakra” symbol in the house would confer wish fulfilment, even if it is not worshipped with discipline. There is traditional belief that Adi Shankara installed the SrIchakra in Tirupati temple and hence its effect has made the goddess Lakshmi reign with such flourish there.
SrIchakra has 9 triangles, and hence is called ‘navayonatmaka” symbol. Of these, four are Shiva chakras, five are Shakti chakras. The mystic union of Shiva and Shakti is the inner truth, the core of “srIvidyA” worship. These nine trangles/chakras symbolise the cosmic processes of creation, sustenance, and destruction. The compositions of Wodeyar contain in full measure the details of “srIvidyA” and “SrIchakra” worship and rituals.
Two days ago, I got a few minutes with a lovely book of essays, "Sangeeta Samaya" by Vidwan S.Krishnamurthy (grandson of Mysore Vasudevacharya). I was very happy to read the chapter on Wodeyar's compositions. I decided to share excerpts with you all, and so here goes my attempt at translation. I of course link the original Kannada text I scanned, here:
https://www.dropbox.com/s/gdwf0vp02i9ui ... itions.pdf
I will do the translation in three parts. First Part:
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
What inspired the king to get into composing was a confluence of several qualities in him – his incomparable devotion, his special love for Sanskrit, knowledge of Tantrashastra, Mantrashastra, a keen interest in subjects of Vedanta, extensive competency in music, and an attitude of service without recompense. One day, after seeking the blessings of my grandfather (Mysore Vasudevacharya, his guru), he began this mammoth task. Once the sahitya or lyric of the composition would be ready, there would be a discussion of what raga would best bring out the mood and feeling of the lyric, which tala would be appropriate, what should be the musical idiom/syntax, how should the nade (rhythmical progression) be- a discussion that he would hold with my grandfather. As was the practice, I would notate the swaras of the song in Western notation and present it to him. The king would then play and study the song on the piano with that notation. By this time, the king was also quite familiar with the Carnatic system of swara notation and so I would present the song in that form as well. He would then ask me to sing the song and listen to it. He would then discuss his reactions with grandfather. Thus would the song be finalised and then be passed on to musicians.
As per tradition, the task of Maharaja’s compositions began with the prayer to Vighneshwara (Ganesha). “SrimahAgaNapatiM bhajEhaM” in Athana raga took shape on 17th August 1945. From then, the compositional exercise continued till 19 Dec. 1947 and the song that took shape that day was “SriranganAtha pAhimAM kRupAlaya” in Kalyanavasantha. All together 94 compositions with the mudra “srIvidyA” were created by the Maharaja.
Wodeyar was a SrIvidyA upAsaka(follower/practitioner). Hence his mudra “srIvidyA””. The tradition of SrIvidyA worship is very ancient. The yantra (mystic design) of “SrIchakra”, Panchadashi or Shodashi mantra (mystic prayer), the rituals connected with “srIvidyA”, are the three components of this worship. “srIvidyA” practitioners are rare. But those who have faith in “SrIchakra” are many. They have faith that having even one “SrIchakra” symbol in the house would confer wish fulfilment, even if it is not worshipped with discipline. There is traditional belief that Adi Shankara installed the SrIchakra in Tirupati temple and hence its effect has made the goddess Lakshmi reign with such flourish there.
SrIchakra has 9 triangles, and hence is called ‘navayonatmaka” symbol. Of these, four are Shiva chakras, five are Shakti chakras. The mystic union of Shiva and Shakti is the inner truth, the core of “srIvidyA” worship. These nine trangles/chakras symbolise the cosmic processes of creation, sustenance, and destruction. The compositions of Wodeyar contain in full measure the details of “srIvidyA” and “SrIchakra” worship and rituals.
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Re: An Adept King Composer – Jayachamaraja Wodeyar
Rsachi - we had a very extensive discussion on 'oDeyaru' a few years back...
Mods: Can you merge this with that older thread?
Mods: Can you merge this with that older thread?
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Re: An Adept King Composer – Jayachamaraja Wodeyar
Yes indeed it had two sets of posts in two threads I and IIrshankar wrote:Rsachi - we had a very extensive discussion on 'oDeyaru' a few years back...
Mods: Can you merge this with that older thread?
Mods - Please merge this post with Part II of the thread in the url
http://www.rasikas.org/forums/viewtopic. ... start=1250
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Merged. Thanks Rsachi, rshankar and rajeshnat. Please continue here.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
sure. I will also read the first 50 pages of this thread before posting parts 2 and 3 of the article.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part II of the essay continued from post #1269
Wodeyar did not foray into compositional forms of varna, tillana and so on, apart from kirtanas. His principal intent was to compose offerings of prayer and praise of the Lord in a submission of gratitude.
Among the Maharaja’s compositions, around thirty are In janaka (mela) ragas : Charukeshi, Gowrimanohari, Hemavati, Dharmavati, Vishwambhari, Hatakaambari, Lathangi, Simhendramandhyama, Shankarabharana, Kalyani, Suryakanta, Ramapriya, Rishabhapriya, Shanmukhapriya, Vagadheeshwari, Ragavardhini, Shadvidhamargini and so on. The rest have been set by him to unusual janya ragas. And remember, there are so many janyas of the 29th melakarta Dheerashankarabharana itself!
Nagadhwani, Suranandini, Kokilabhashini, Hamsavinodini, Narayana Desakshi, Durvanki etc.
In the same way, credit is due to Wodeyar for adeptly employing and making popular many other rare ragas such as Bhupala panchama, Bhogavasantha, Balachandrika, Bhanuchandrika, Hamsanatani, Nilaveni, and Shivakambodhi.
Among Wodeyar’s compositions, thirty three are in Adi Tala. The other compositions have been set to Sankirna Triputa, Chaturashra Dhruva, Chaturashra Mathya, Mishra Jhampa, Khanda Triputa and so on.
In keeping with the style of Sri Muthuswami Dikshitar, the king has woven the names of ragas appropriately and meaningfully in the right places in his songs. For example, the song in Jaganmohini begins with the words, “jaganmOhinIM haramOhinIM”. The kirtana in Kokilapanchama has the line in the Anupallavi, “nArAyaNIM kOkila panchamarAgiNIM”. “nAgarAjAdi bhakta SankarAbharaNayutaM” is another instance. With a few exceptions, the raga names have all been beautifully incorporated into the lyrics of the compositions.
Wodeyar’s compositions are not simple lyrics. They are not a mere string of the Lord’s praises. Pronunciation is difficult. The use of atheeta and anaagata grahas is quite frequent. In short one can say that Wodeyar’s compositions do not yield themselves to easy mastery. They call for great application and massive effort is a must.
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part II of the essay continued from post #1269
Wodeyar did not foray into compositional forms of varna, tillana and so on, apart from kirtanas. His principal intent was to compose offerings of prayer and praise of the Lord in a submission of gratitude.
Among the Maharaja’s compositions, around thirty are In janaka (mela) ragas : Charukeshi, Gowrimanohari, Hemavati, Dharmavati, Vishwambhari, Hatakaambari, Lathangi, Simhendramandhyama, Shankarabharana, Kalyani, Suryakanta, Ramapriya, Rishabhapriya, Shanmukhapriya, Vagadheeshwari, Ragavardhini, Shadvidhamargini and so on. The rest have been set by him to unusual janya ragas. And remember, there are so many janyas of the 29th melakarta Dheerashankarabharana itself!
Nagadhwani, Suranandini, Kokilabhashini, Hamsavinodini, Narayana Desakshi, Durvanki etc.
In the same way, credit is due to Wodeyar for adeptly employing and making popular many other rare ragas such as Bhupala panchama, Bhogavasantha, Balachandrika, Bhanuchandrika, Hamsanatani, Nilaveni, and Shivakambodhi.
Among Wodeyar’s compositions, thirty three are in Adi Tala. The other compositions have been set to Sankirna Triputa, Chaturashra Dhruva, Chaturashra Mathya, Mishra Jhampa, Khanda Triputa and so on.
In keeping with the style of Sri Muthuswami Dikshitar, the king has woven the names of ragas appropriately and meaningfully in the right places in his songs. For example, the song in Jaganmohini begins with the words, “jaganmOhinIM haramOhinIM”. The kirtana in Kokilapanchama has the line in the Anupallavi, “nArAyaNIM kOkila panchamarAgiNIM”. “nAgarAjAdi bhakta SankarAbharaNayutaM” is another instance. With a few exceptions, the raga names have all been beautifully incorporated into the lyrics of the compositions.
Wodeyar’s compositions are not simple lyrics. They are not a mere string of the Lord’s praises. Pronunciation is difficult. The use of atheeta and anaagata grahas is quite frequent. In short one can say that Wodeyar’s compositions do not yield themselves to easy mastery. They call for great application and massive effort is a must.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Third and final part continued from #1274
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part III of the essay continued from post #1274
As soon as the compositions saw the light of day, vidwans and musicologists readily hailed them as compositions that would stand alongside Dikshitar’s compositions. Many of these compositions have become famous nowadays and entered the mainstream repertoire all over south India.
An episode: Vid. Semmangudi was giving a vocal recital in Malleshwaram Sangeeta Sabha. He sang the Maharaja’s composition in Nadanamakriya, “Siva Siva Siva bhO mahAdEva” in a magnificent manner. There was a deluge of applause. “Whose composition could this be?” was the curious question on everyone’s mind in the audience. Semmangudi answered, folding his hands, “this composition is the gracious gift of your own Maharaja!” There was no limit to the joy and pride in the hearts of the listeners.
In another instance, Vid. Ariyakudi Ramanuja Iyengar cast a spell on the audience with the Wodeyar composition, “SrIjAlandhara”in Gambhira Nata. He sang the sarvalaghu chittaswaras in that song in an incomparable manner. The beauty of his singing was enhanced by the majesty of mridangam accompaniment of another great, Vid. Palghat Mani Iyer. It was as if a golden flower cast an ethereal fragrance. It was a stunning, mesmerising moment for everyone in the assembly.
The nightingale of Carnatic music, Vid. Subbulakshmi rendered the Nadanamakriya composition of Wodeyar in the United Nations and made him a world famous composer indeed.
It is indeed a wonder how the Maharaja was able to find the time to engage in pursuit of classical music and then venture into composition-making, in the midst of all his busy activities of administration and kingship. On occasion, we would have to wait for the session owing to his pressing engagements. But that time would then be used to engage in fruitful interactions with Maharaja’s close associates like Muddaraje Urs, K. Gurudutt, Captain Krishna, Gangadhara Shastri and other notables. That would be a great opportunity to discover more stories concerning the Maharaja’s large- heartedness, religious devotion, love of his subjects and high scholarship. And I would gladly listen to those stories, all ears!
A Time for Music
Author: S. Krishnamurthy
Publisher: DVK Murthy, Mysore 2002
An Adept King Composer – Jayachamaraja Wodeyar
Part III of the essay continued from post #1274
As soon as the compositions saw the light of day, vidwans and musicologists readily hailed them as compositions that would stand alongside Dikshitar’s compositions. Many of these compositions have become famous nowadays and entered the mainstream repertoire all over south India.
An episode: Vid. Semmangudi was giving a vocal recital in Malleshwaram Sangeeta Sabha. He sang the Maharaja’s composition in Nadanamakriya, “Siva Siva Siva bhO mahAdEva” in a magnificent manner. There was a deluge of applause. “Whose composition could this be?” was the curious question on everyone’s mind in the audience. Semmangudi answered, folding his hands, “this composition is the gracious gift of your own Maharaja!” There was no limit to the joy and pride in the hearts of the listeners.
In another instance, Vid. Ariyakudi Ramanuja Iyengar cast a spell on the audience with the Wodeyar composition, “SrIjAlandhara”in Gambhira Nata. He sang the sarvalaghu chittaswaras in that song in an incomparable manner. The beauty of his singing was enhanced by the majesty of mridangam accompaniment of another great, Vid. Palghat Mani Iyer. It was as if a golden flower cast an ethereal fragrance. It was a stunning, mesmerising moment for everyone in the assembly.
The nightingale of Carnatic music, Vid. Subbulakshmi rendered the Nadanamakriya composition of Wodeyar in the United Nations and made him a world famous composer indeed.
It is indeed a wonder how the Maharaja was able to find the time to engage in pursuit of classical music and then venture into composition-making, in the midst of all his busy activities of administration and kingship. On occasion, we would have to wait for the session owing to his pressing engagements. But that time would then be used to engage in fruitful interactions with Maharaja’s close associates like Muddaraje Urs, K. Gurudutt, Captain Krishna, Gangadhara Shastri and other notables. That would be a great opportunity to discover more stories concerning the Maharaja’s large- heartedness, religious devotion, love of his subjects and high scholarship. And I would gladly listen to those stories, all ears!
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Rsachi - thanks for the translations. It was an interesting read.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
my pleasure, sir.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Thanks Rsachi.
video link to enhance the experience: https://www.youtube.com/watch?v=B034KErX0CY
Edit: Found the video and audio not synced properly in the above link. . This is better: https://www.youtube.com/watch?v=J1hUcd2vP6s
video link to enhance the experience: https://www.youtube.com/watch?v=B034KErX0CY
Edit: Found the video and audio not synced properly in the above link. . This is better: https://www.youtube.com/watch?v=J1hUcd2vP6s
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Thanks a lot, Vasanthakokilam!
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Documentary on JCRW
Just stumbled on this; two clips of a documentary on HRH JCRW:
1) Part 1 - http://www.youtube.com/watch?v=2cghj-SixW4
2) Part 2 - http://www.youtube.com/watch?v=G7b4nIxfaUI
1) Part 1 - http://www.youtube.com/watch?v=2cghj-SixW4
2) Part 2 - http://www.youtube.com/watch?v=G7b4nIxfaUI
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
More:
1) śata kaṇat gāyana by musicians from karṇāṭaka led by vidvān śrīkāntaṁ nāgēndra śāstri rendering compositions of mahārājā jayacāmarājēndra oḍeyār, maisūr sadāśiva rāyaru, maisūr vāsudēvāccāryā, vīṇā padmanābhayya, etc.:-
a. http://www.youtube.com/watch?v=jjtT0QW0DOc
b. http://www.youtube.com/watch?v=SD480XfzI5k
c. http://www.youtube.com/watch?v=P9pHKvz0l3I
1) śata kaṇat gāyana by musicians from karṇāṭaka led by vidvān śrīkāntaṁ nāgēndra śāstri rendering compositions of mahārājā jayacāmarājēndra oḍeyār, maisūr sadāśiva rāyaru, maisūr vāsudēvāccāryā, vīṇā padmanābhayya, etc.:-
a. http://www.youtube.com/watch?v=jjtT0QW0DOc
b. http://www.youtube.com/watch?v=SD480XfzI5k
c. http://www.youtube.com/watch?v=P9pHKvz0l3I
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Concert 239-Compositions of Jaya chamaraja Wodayar
His Birth day to day-18-07-2014
Listen at:
http://myblogkumara.blogspot.in/2014/06 ... -viii.html
Concert details:
001-Shri Maha Ganapathim Bhaje Ham -Soolamangalam Sisters - Athana Raga Adi Tala
002- O jagadamba Raga narayanadeshakshi triputa tala…
003-KVN--ManayataManjula-Kokilapriya-TJhampa-KV-Narayanaswamy
004-KVN-ShriLalitam--nAgadvani-KandaTriputa-KVNarayanaswamy
005-Sadashiva-Sarasangi-Adi-Thiruchur v Ramachandran
006-siva siva siva bho-nadanamakriya-MSS
007-Padmanabham bajeham-Yadukula Kambhoji-Dr.Nagavalli Nagaraj
008-bhUri_bhAgya_lahari-prathApavarALi-Adhi-Rudrapattinam brothers
009-AnandaLahari--KsheeraSagaraShayana-MayamalavaGowla-MSS
010-ShriJalandara-GambhiraNata-Aadi-DKP
011-DurgaDevi-Dharmavathy-Aadi-M.Santhanam
012-Chintayasada-Sindhuramakriya-RK Srikantan
His Birth day to day-18-07-2014
Listen at:
http://myblogkumara.blogspot.in/2014/06 ... -viii.html
Concert details:
001-Shri Maha Ganapathim Bhaje Ham -Soolamangalam Sisters - Athana Raga Adi Tala
002- O jagadamba Raga narayanadeshakshi triputa tala…
003-KVN--ManayataManjula-Kokilapriya-TJhampa-KV-Narayanaswamy
004-KVN-ShriLalitam--nAgadvani-KandaTriputa-KVNarayanaswamy
005-Sadashiva-Sarasangi-Adi-Thiruchur v Ramachandran
006-siva siva siva bho-nadanamakriya-MSS
007-Padmanabham bajeham-Yadukula Kambhoji-Dr.Nagavalli Nagaraj
008-bhUri_bhAgya_lahari-prathApavarALi-Adhi-Rudrapattinam brothers
009-AnandaLahari--KsheeraSagaraShayana-MayamalavaGowla-MSS
010-ShriJalandara-GambhiraNata-Aadi-DKP
011-DurgaDevi-Dharmavathy-Aadi-M.Santhanam
012-Chintayasada-Sindhuramakriya-RK Srikantan
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Re:
Few Things :drshrikaanth wrote:Notes on || SrI jAlandharam ||
rAga: gambhIranATa ; Adi tALa
SrI jAlandharam ASHrayAmi aham- I seek refuge in jAlandharESvara;
jalajAkSham- Lotus-eyed one.
SrI jAhnavIdharam-Him Who bears ganga in his matted locks; Sankaram;
SrIvidyAswarUpam- Him in the form of SrIvidyA;
SHaShidharam- Him Who is adorned with the moon;
SrIvAsam-Abode of prosperity; Sarvam;
SivAramaNam- Lord of pArvati;
maNigaNavarabhUShaNam- Him bedecked with various ornaments;
Srita jana ananta abhIShTa phaladam- Him Who grants the sounted desired wishes of those
who seek refuge in him;
SrI sadASivam; aniSam- ever.
purA- In ancient days;
dEvatA kAryArtham- For the sake of the dEvas` purpose/enterprise;
tripuradahanakArakam- slayer of tripura (by burning);
"dAhakArakam" also conveys the same meaning;
tryambakam- Him with 3 eyes.
murAri dEvottama pUjita- Him worshipped by viShNu and other dEvas;
tAraka vadhArtham- With the aim of killing tArakAsura;
mahAsEna rUpadharam- Him Who took the form/guise of mahAsEna;
dEvAdhi pramukham- The leader of all Gods;
harAdi akhilanAma pratipAdyam- Him praised and called by various names such as hara;
hamsam- parabrahma; jagadvyApakam- All pervadin One; anantam-eternal One;
purandarAdi sannuta- Woshipped by indra et al;
tAraka tEjOrUpavAyulingam- effulgent vAyulinga Tha helps one cross the ocean of samsAra.
-> in the line sri vaasam , the word is SHARVAM not sarvam . sharvam means shivam ( it is a synonym ) ( sharva means shiva )
-> The line maniganavarabhushanam is actually phanigana varabhushanam referring to mahadeva having adorned Phanigana - serpents
-> in the line murari ( mura is a demon , ari is enemy , thus the attribute to vishnu - mura-ari ) devottama - the word is poojithaarthi - one who is worshipped
->immediately there is a line ( it has been missed out ) ' pavithra pada yugmam ' - having holy feet ; one foot of shiva and the other of devi , this is from the yugala concept ( ardhanarishwara) (yugma means pair )
-> After purandaradi sannuta there are lines missing . :- Gambheera natya pravartaka - one who dances majestically with elan ; nagalingam the linga which adorns the naga( serpent) ; Maragatha mani shobhita lingam - referring to the maragatha lingam ( a rare and auspicious lingam of emerald )
-> taaraka tejo rupa vayu lingam - this line is also an attribute to Thiruvannamalai arunachaleshwara
Just wanted to notify that these things had been missed out from this divine composition .
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Can someone help in re uploading all the compositions of sri jayachamaraja wodeyar so that everyone can download and listen.
I need recording of pahimam sri rajarajeshwari in jayasamvardhini.
Awaiting response from someone.
Thanks.
I need recording of pahimam sri rajarajeshwari in jayasamvardhini.
Awaiting response from someone.
Thanks.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Writeup of exclusive concert of JC Wadiyar (ODeyar) by Nagendra sastri .
viewtopic.php?f=13&t=33052
viewtopic.php?f=13&t=33052
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
For those interested in mahārājā śrī jayacāmarājendra oḍeyār's compositions, Ganabharathi of Mysore celebrated his remembrance day last month. Here is:
1. A concert exclusively comprising JCRW compoitions by Vid Manasa Nayana
2. Renditions of select compositions of JCRW rendered by Vid. Sukanya Prabhakar, Dr RN Sreelatha(younger sister of RB), NR Prashanth and a teaching session for the kr̥ti in r̥ṣabhapriya conducted by Vid Bellary M Raghavendra
1. A concert exclusively comprising JCRW compoitions by Vid Manasa Nayana
2. Renditions of select compositions of JCRW rendered by Vid. Sukanya Prabhakar, Dr RN Sreelatha(younger sister of RB), NR Prashanth and a teaching session for the kr̥ti in r̥ṣabhapriya conducted by Vid Bellary M Raghavendra
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Here it is: https://www.youtube.com/watch?v=sxqRpXWm8JMsathya_vrathan wrote: ↑22 Nov 2018, 16:57 I need recording of pahimam sri rajarajeshwari in jayasamvardhini.
Awaiting response from someone.
Thanks.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
@rshankar
Sir, you have referred to a song in Ataanaa ragam by NCV in post-12 of the first page of this thread.
You had given a rapidshare link also but the links from rapidshare are not working anymore.
Are you referring to 'yaaro vanthennai aasai kaatti maraintahaar' ?
If so, I have given the youtube link ( saregama- old gems) in musicians section
Sir, you have referred to a song in Ataanaa ragam by NCV in post-12 of the first page of this thread.
You had given a rapidshare link also but the links from rapidshare are not working anymore.
Are you referring to 'yaaro vanthennai aasai kaatti maraintahaar' ?
If so, I have given the youtube link ( saregama- old gems) in musicians section
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Does anyone have an audio recording of Wodeyar’s not so known compositions in well known ragas like Dhenuka? I found a few on sangeethapriya and YouTube, or Shymala Venkatesan’s album but vast majority still difficult to find. I’m looking for the Dhenuka composition at the moment
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
https://www.youtube.com/watch?v=okYAS93pzaosathya_vrathan wrote: ↑22 Nov 2018, 16:57 Can someone help in re uploading all the compositions of sri jayachamaraja wodeyar so that everyone can download and listen.
I need recording of pahimam sri rajarajeshwari in jayasamvardhini.
Awaiting response from someone.
Thanks.
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- Posts: 1258
- Joined: 10 Mar 2006, 07:55
Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
@satya_vrathansathya_vrathan wrote: ↑22 Nov 2018, 16:57 Can someone help in re uploading all the compositions of sri jayachamaraja wodeyar
Your request was heard(or seen) - AIR Ragam aired most of the episodes of the series, "Srividya Darshanam," featuring mahārājā śrī jayacāmarājēndra oḍeyār's compositions, earlier this year. It is available here.
@Lakshman @meena @Sreeni Rajarao @keerthi @Sachi_R @vs_manjunath @drshrikaanth
The notations for these compositions are available in the book entitled, "śrī vidyā gānavāridhi" (lyrics and notation in Kannada) published by HRH Sri Jaya Raja Chandra - edited by S. Krishnamurthy (grandson of maisūr vāsudevācārya), published by Prism Books.
An additional three compositions were released later by Sangeetha Vidwan Sri Sreekantham Nagendra Sastry in a commercial CD after he accidentally stumbled upon the notations in his family collection (IINM the additional piece in sarasāṅgi, bindumālini and one more that doesn't come to memory).
As for the thread, many thanks to Dr Shriikaanth Murthy, meena and other experts for their deep analysis of each composition, Cool Sir for industriously digging through his vast, painstakingly curated collection of audio documentation (and others) to provide renditions and illustrations, HRH Jaya Raja Chandra (and others)providing supporting documentation for discussions. All in all, we have a deeper awareness, understanding and appreciation for these gems.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
yes some of the compositions are rivetting indeed. especially the song in Nadanamakriya sung by MSS at the UN. And also Sri Jalandhara
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Namasthe
Can somebody help me to procure the notations of Wodeyar krithis? Any available notation, could you please share?
looking forward to hearing from you.
Can somebody help me to procure the notations of Wodeyar krithis? Any available notation, could you please share?
looking forward to hearing from you.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Only a handful of his krti notations are available in English. There is a book in print with notations for all his songs but it is in Kannada script.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
Kannada book will be fine.
But it's not available for online purchase it seems
Since Iam a Keralite ,I dont have any contacts at Bangalore to enquire regarding the availability of the book in any of the book stalls in Bangalore.
This was a book which I really wished to have which could help me to do my Mphil thesis.
But it's not available for online purchase it seems
Since Iam a Keralite ,I dont have any contacts at Bangalore to enquire regarding the availability of the book in any of the book stalls in Bangalore.
This was a book which I really wished to have which could help me to do my Mphil thesis.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
@Devikasnath :
This is Prism Books' website: https://prismbooks.com/
Facebook: https://www.facebook.com/prismbookspvtltd/
You could try emailing them, if you receive no reply, then call.
This is Prism Books' website: https://prismbooks.com/
Facebook: https://www.facebook.com/prismbookspvtltd/
You could try emailing them, if you receive no reply, then call.
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Re: Jayachamaraja Odeyar (Mysore Maharajah) - Part II
I tried Prism Books but they directed me to one Ramachandra R,Urs at 23615370. They did not mention the name of the city where this phone number is located.
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