Dr. Shrikaanth K Murthy

drshrikaanth · Post by **drshrikaanth** » 14 Feb 2006, 22:40

DRS
Can I have the notation for the varnam?
Thank you
Kiran

http://rapidshare.de/files/12945984/Sah ... h.rtf.html

cmlover · Post by **cmlover** » 14 Feb 2006, 23:41

>>3 posts in 5 days! Thanks guys. I am encouraged.<<
DRS

You seem to have misundestood! When you mentioned about taking a break for the weekend, no one dared to disturb your peace! That did not mean we did not enjoy the gift you left baked fresh from the oven. I had expected you to post the lyric (meaning?) as well. Thanks for the additional gift of notations too! I am not competent to comment on the technicalities of 'varNam' but found it educational. Of course a varnam is quite different from a kriti where the melody and rhythm dominate. I am hoping you will educate us on the special prayogas in this piece. I have not heard any varnam in sahana. What is the criteria for selecting a varnam at the beginning of a concert? I am sure sahana is not an acceptable raga for a starter mood-wise! Pl enlighten.

By the by I hope you had a pleasant break!

drshrikaanth · Post by **drshrikaanth** » 15 Feb 2006, 01:49

Thanks CML. I had a great break.

mAtu of the varNa

orakamillAdE nIra |
oNandALE tIra ||P||
orukAlavaLa SEra |
O SrIkAnta vAra ||AP||

ettugaDe pallavi

tAninni tALallA- taruNi ||

oraku, orku- sleep; illAde- without; nIra- beautiful maiden; oNandALe- She withered /shrivelled/despaired; tIra- too much; orukA- once; avaLa SEra- to join her/unite with her; vAra- Do come;

My beautiful maiden has shrivelled and despaired no end and has not slept a wink. She is anxiously awaiting your arrival. O SrIkAnta! Do come and unite with her once.

(ettugade pallavi) The young lass will not be able to tolerate this any longer.

abadri · Post by **abadri** » 15 Feb 2006, 02:02

I have not heard any varnam in sahana.
I am sure sahana is not an acceptable raga for a starter mood-wise!

CMLsir, I think it's not all that uncommon to begin a concert with a varnam in Sahana.
Tivottriyur Thyagayyar's karuNimpa idi (Adi tALam) seems to be the varnam of choice.
http://www.geocities.com/promiserani2/c3007.html

Here are two renditions
Voleti :- [rapidshare link deleted]
Tiruvarur Namasivayam :- [rapidshare link deleted]

drshrikaanth · Post by **drshrikaanth** » 15 Feb 2006, 02:10

-------- I have not heard any varnam in sahana. What is the criteria for selecting a varnam at the beginning of a concert? I am sure sahana is not an acceptable raga for a starter mood-wise! Pl enlighten.-------

Ariyakkudi R I is gnerally credted with standardising the current concert format.
varNa is a great exercise for freeing the vocal chords. The trikAla(Or dvikAla these days) rendition eases the vocal chords and helps in getting the voice ready for a long concert. It also refreshes the layajnana. Also taditionally RTPs were always sung in the same rAga as the varNa so that would have been a "sneak preview".
Despite its mood, rAga Sahana is a great exercise for the voice as it is so rich in all those gamakas so typical of karNATaka sangIta. Also, swaras and laya are predominant in varNas and hence the mod does not come into prominence here.
tiruvoTRiyUr tyAgayyar`s varNa, "karuNimpa idi manci samayamu" is frequently rendered in concerts.
I would love to hear HMB`s daruvarNa in this rAGa. Any recordings please?

Ashwin · Post by **Ashwin** » 15 Feb 2006, 03:45

I have not heard any varnam in sahana.
I am sure sahana is not an acceptable raga for a starter mood-wise!
CMLsir, I think it's not all that uncommon to begin a concert with a varnam in Sahana.
Tivottriyur Thyagayyar's karuNimpa idi (Adi tALam) seems to be the varnam of choice.
http://www.geocities.com/promiserani2/c3007.html

Here are two renditions
Voleti :- http://rapidshare.de/files/13280335/Vol ... varNam.m4a
Tiruvarur Namasivayam :- http://rapidshare.de/files/13280236/TVN ... varNam.m4a

Here is a link to the sahAnA aTa tALa varNam of paTNam subramaNia iyer:

http://rapidshare.de/files/13287217/sah ... m.mp3.html

The recording is from Prof. SRJ's lecdem 'varNas Through the Ages'. Perhaps Lakshman Uncle could post a list of other varNams (if any) in sahAna.

Ashwin

new_cmfan · Post by **new_cmfan** » 15 Feb 2006, 04:10

A nice karunimpa my maharajapuram ramachandran... coolkji - can you hunt out the m.santhanam's version??

http://rapidshare.de/files/13288945/karunimpa_-_msr.mp3

Suji Ram · Post by **Suji Ram** » 15 Feb 2006, 04:36

drshrikaanth,
Thankyou for sharing your wonderful compositions. I am trying to learn them on violin.
I would like to have the notations to the charanam of vasantabhairavi. Please post them when you have time
Thanks

drshrikaanth · Post by **drshrikaanth** » 15 Feb 2006, 06:46

Thanks for the nice recordings.

------- I am hoping you will educate us on the special prayogas in this piece. -----

In this varNa too, I have used swarAkSharas. "SrIkAn" of SrIkAnta fall on "R*~ , R*~ G* G*". Also, in the ettugaDe pallvi "tAninni tA" fall on D, N and D as " D , ; ; N~ , N ," D". And also in taruNi, ta and Ni fall on D and N respectively.

Coming to some swara patterns. The makuTaswara(finale) in the ciTTeswara at the end of the pUrvAnga has the pattern of "tadIngiNatOm- taka tadIngiNatOm- takadiku tadIngiNatom":-

G* G* , M* R* S*- R* S*- N~ N~ , D P M- P M G M- G G , M R G

Likewise the makuTaswara of the final ettugaDe swara has tadIngiNatOm- tadIngiNatOm- taIngiNatOm- tadIngiNatOm pattern.

M* G* , M * R* S*- R* N , S* D P- M G , M R S- R/ N , D P M

the 2nd ettugaDe swara keeps dhaivata as the graha and keeps coming back to it at regular intervals.

Also in the last ettugade swara, The successive tALas start on R*, R*, D and R. R and D are vAdi-samvAdi.

cmlover · Post by **cmlover** » 15 Feb 2006, 06:48

Thanks! Thanks! for the sahana shower!
of course to me sahana was synonymous with MDR!

The lyric is simple and nice. It is very close to Tamil expression-wise! I could almost visualize a dancer interpreting it!

Now DRS here is where I need some help! I expect the mood to portray pathos for which sahana is appropriate. But the notes are bright and sprightly. I thought that you need more mantra sthaanam sanchaaram. Of course "oNandaale" comes out real nice, but the rest is mostly in madhya or taara prayOgam. Also the pathos is conveyed by long notes rather than fast tempo. Am I expecting too much from the varnam? Of course it is not a kriti to portray the feelings fully! Pl discuss your rationale and excuse my ignorance!

I have heard that a concert should start with a bright raga (hamsadhvani, naaTTai, kalyaani etc) rather than a morose raga! Sahana is indeed a complex raga but is it good enough to create the right starting atmosphere?

drshrikaanth · Post by **drshrikaanth** » 15 Feb 2006, 07:41

drshrikaanth,
Thankyou for sharing your wonderful compositions. I am trying to learn them on violin.
I would like to have the notations to the charanam of vasantabhairavi. Please post them when you have time
Thanks

http://rapidshare.de/files/13297139/vas ... a.pdf.html

drshrikaanth · Post by **drshrikaanth** » 15 Feb 2006, 07:57

----- I expect the mood to portray pathos for which sahana is appropriate. But the notes are bright and sprightly. I thought that you need more mantra sthaanam sanchaaram. Of course "oNandaale" comes out real nice, but the rest is mostly in madhya or taara prayOgam. Also the pathos is conveyed by long notes rather than fast tempo. Am I expecting too much from the varnam? ----

The varNa is as if the sakhi is pleading with SrikAnta to come and unite with her friend. Here, the sakhi wishes to convey the urgency in the situation and urges the lover to come quicly to unite with her friend, lest something untoward happens. Here urgency takes predominance over pathos/sorrow.
You are right in saying that long notes and mandra sthAyi will aid in evoking pathos. This would be more appropriate for a padavarNa though. In a tAnavarNa, the sAhitya is a mere vehicle for the swaras. I have explained the purpose of the tAnavarNa in an earlier post which I am sure you will remember. Evoking a particlar emotion is not usually given importance.

---I have heard that a concert should start with a bright raga (hamsadhvani, naaTTai, kalyaani etc) rather than a morose raga! Sahana is indeed a complex raga but is it good enough to create the right starting atmosphere?

Part of the answer for this lies in what I have already posted earlier. The varNa structure itself makes up for what might otherwise be an sad/gloomy emotion in thr rAga. Especially if sung in quick tempo, the mood is usually bright.

cmlover · Post by **cmlover** » 15 Feb 2006, 10:35

tAna varNas are meant to familiarise one with the sancAras of a rAga- both ranjaka, common and rare prayOgas. Archaic prayOgas are also shown. They are used for practising. They are also a form of voice culture and help one to use them in future when singing kalpanAswaras. The theme was traditionally romantic but we often see bhakti in the recent varNas. They are the opening items in a concert. They are traditionally meant to be sung in trikAla.

Just to reiterate I have posted your quote and it fits like a glove.

But I still feel that this is good for a dance piece. with the addition of jathi swarm a clever dancer should be able bring out the 'colour' of the raga though not the emotions.

shankar

Do you know whether tana varnam is ever used in dance? Of course it will fail the test of abhinaya but the dancer can interpret the jathi!

rshankar · Post by **rshankar** » 15 Feb 2006, 23:09

CML,
I have never seen a tana varNam in a traditional mArgam: there is talk of reducing the length of the traditional pada varNam for young girls (some pada varNams go on for 40 minutes or longer), so a tAna varNam embellished with jathIs may not be unthinkable.. the only other type of varNam that I have seen in a dance mArgam is a daru varNam (mAthE, HKMB's KamAs piece is a favorite). I wonder if thillAnAvarNams (REF: DRS) may also be dance-worthy!
Meena: am I correct?
Ravi

meena · Post by **meena** » 15 Feb 2006, 23:58

shankar

padha varna (chauka varna) are most suited to BNatyam, since these comp, have sahitya which offer a better scope for abhinaya expositions. besides the accent is usually on shringara.
2. the tempo is slower and it's in chauka kala. It begins like a keertana and only in the charnam the tempo is accelerated.
3. the mukthayi swaras and charna swaras also have sahitya which lend themselves to abhinaya.

In tana varna the musicaial content of the raga is more prominent than the shaitya. Consequently there is emphasis on nritta rather than abhinaya. It is also to be noted that the thana varna is performed in the madhyama kala.

kalakshetra has choreographed tana varna has the center piece of the margam.

kiransurya · Post by **kiransurya** » 16 Feb 2006, 00:56

BTW, Sri DRS have you ever composed a Daru? Would want to listen to you singing a daru in a raagam like Hindolam ( Am I being cheeky here?)

Although I appreciate the fact that Taana Varnams play a pivotal role in laying the foundation for raaga and Laya gnaana, I personally like Darus. They being more lyrical, will give an ample chance for Bhava. I like singing taana varnams in three speeds which Iam afraid present day concert performers dont seem to bother. .

While on discussion abt varnams, Does anyone have a Daru in Rudrapriya by Balaswami Dikshitar? I want the Audio. Also a copy of nee sati in Sri Ranjani by Sri Dikshitar

Thanks in advance

abadri · Post by **abadri** » 16 Feb 2006, 02:13

Also a copy of nee sati in Sri Ranjani by Sri Dikshitar

[rapidshare link deleted]

kiransurya · Post by **kiransurya** » 16 Feb 2006, 04:07

Cheers abadri

new_cmfan · Post by **new_cmfan** » 16 Feb 2006, 08:37

Can someone enlighten me please (sorry if i am the only one asking this question) - I am trying to understand the difference between all these types of varnams - can someone post an example of each? I have heard the navaragamalika varnam - valachi vachi - i have also seen bnatyam dances to that varnam - does that mean it is a padavarnam? Apologize again for a dumb question - i believe that "not wanting to know" is worse than "not knowing". So I am hoping someone will enlighten me (and hopefully others like me).

Thanks in advance...

drshrikaanth · Post by **drshrikaanth** » 16 Feb 2006, 09:02

new_cmfan
Please see page 4 of this thread. Trust my post will help clear your doubts.

new_cmfan · Post by **new_cmfan** » 16 Feb 2006, 18:02

That's great DRS. Thanks for pointing it out to me (and i apologize for missing it in the first place - need to pay attention i guess). Still i am a bit lost - are there illustrative examples? Is valachi vachi a padavarna? I don't think so since the chittaswaras don't have sahityas to my knowledge - but i still have seen bnatyam performed to this varna (is that just a poor choice of varna for a bnatyam then?). Thanks so much for your efforts in educating folks like me.

cmlover · Post by **cmlover** » 16 Feb 2006, 21:43

From what I understand the role of 'varNam' is different in both music and dance. In the former it is used for voice training whereas in the latter it is used for body movement as well as interpretation. I think there is a confusion in using the same term in both contexts. While I appreciate DRS's nice interpretations of the various varnams I would like to learn more as used in the dance context. May I request (meena/shankar ?) to point to relevant articles? Just keep in mind that I am a novice on dance terms!

drshrikaanth · Post by **drshrikaanth** » 17 Feb 2006, 03:13

Next kRti in sAvEri, miSracApu tALa.

http://rapidshare.de/files/13428701/gOp ... h.wma.html

cmlover · Post by **cmlover** » 17 Feb 2006, 04:13

clap! clap!
Five minutes of tristhaayI aalaapana very nicely done! Now awaiting the lyric (if swaras are available it will be a treat!).

drshrikaanth · Post by **drshrikaanth** » 17 Feb 2006, 07:38

mAtu of gOpAla

rAga sAvEri; miSracApu tALa.

gOpAla sad-guNaSIla- hRt | tApahara bAla tArayASu mAm ||P||

gOpastrI jAra nanda kiSOra | rUpajita mAra rukmiNIdAra ||AP||

kAvErI taTavAsa subhASha | kalikalmaSha nASa naravESha |
sEvakajana pUjita padaviSESha | SrikAnta gAnarata nirviSESha ||
jIvakOTi vikAsa kAraNa | bhAvitAkhila kAmyapUraNa |
dEvaripu vAridasamIraNa | dInajAla kuSalavicAraNa ||

cmlover · Post by **cmlover** » 17 Feb 2006, 09:58

Thanks nice lyric!
Couple of grammatical points.
h^Rid = hearted which enters into compounds and does become h^Rit at the end. But here
there is room for confusion with 'h^Rit' meaning removing/taking away. Hence
gOpAla sad-guNaSIla- hRt = gOpAla the one sho takes away good qualities which is an awkward ambiguous construction. Two choices: to leave as h^Rid or use the usual term 'h^Ridaya'.

dArAH meaning wife is used only in the plural. Hence during sambhOdhana it must still be dArAH with optional loss of visarga at the end.

drshrikaanth · Post by **drshrikaanth** » 17 Feb 2006, 20:21

CML
Thanks for your input. The sadguNaSIlahRt in unlikely to be interpreted in the wrong way for the following reasons.
1- It is alien to the cultural and religious belief regarding kRShNa
2- There is a clear gap after SIla. sadguNaSIla occurs as one unit in the song while hRttApahara occurs as another clear unit when sung.
3- The word SIla itself would forbid such an interpretation. sadguNaSILa is one word and cannot be split as sadguNa and SIla. To do so , it would have to be SILA.(AFAIK)

Another interesting interpretation has occured to me. "hR" also means attract/charm.
That way it would also mean "one who attracts the righteous/virtuous".

As for rukmiNIdAra, I have used this to mean "husband of rukmiNI/Him who has rukMiNI as His wife. AFAIK dAra is also treated as masculine. Please recall theusage "SrIrukmiNIdAram" from MD`s "cEtaH SrIbAlakRShNam" in dvijAvanti.

drshrikaanth · Post by **drshrikaanth** » 17 Feb 2006, 20:37

meaning of gOpAla

rAga sAvEri; miSracApu tALa.

gOpAla; sadguNaSIla- repository of all all good qulaities;
hRttApahara- Remover of all sorrow and misery of the heart;
bAla- young boy;
tArayASu mAm- Quickly take me across the ocean of samsAra.

gOpastrIjAra- lover of the gOpa maidens/gOpikAs;
nandakiSOra- The young lad/son of nanda;
rUpajita mAra- Him Whose handsomeness outdoes tha of manmatha/Cupid;
rukmiNIdAra- Husband of rukmiNi.

kAvErI taTavAsa- Him Who resides on the banks of the rive rkAvEri;
subhASha- Him with a sweet manner of speech;
kalikalmaSha nASa- Destroyer of all sins and wrongs;
naravESha- Him in the garb of a human being;
sEvakajana pUjita padaviSESha- Him with those wonderful feet worshipped by the devout; SrikAnta; gAnarata- Him engrossed in song/music; SrikAntagAnarata, when treated as one unit means "Him engrossed in the song of SrikAnta";

nirviSESha- Him with no attributes(nirguNa);
jIvakOTi vikAsa kAraNa- Him Who is the cause for the developmet/flowering/evolution of the myriad forms of life;
bhAvita akhila kAmyapUraNa- Him Who fulfills all desires and wishes;
dEvaripu vArida samIraNa- Him Who is the wind that scatter helter-skelter the clouds that are the foes of dEvas;
dInajAla kuSalavicAraNa- Him Who ever contemplates on the well-being/prosperity of the distressed.

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 04:24

Notation for gOpAla, sAvEri.

http://rapidshare.de/files/13506235/gOp ... h.pdf.html

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 05:07

The sAvEri krti is on vENugOpAlaswAmi of koNanUru, my native place in Hassan Dt, Karnataka. The town is on the banks of the river kAvEri. The name koNanUru itself is an apabrAmSha/corruption of koLalUru(The flute-place) which is in praise of "vENu"gOpAla. The temple is a small one. The mUrti/vigraha is beautiful. I had taken a snap or 2 few years ago. Will post it after the weekend.

I composed the kRti a few years ago(not sure of dates). It is my offering of song to Him Who enchants the whole world with music of his flute.

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 05:22

CML
Please post your thoughts on what i have said about sadguNaSIla, hRttApahara

cmlover · Post by **cmlover** » 18 Feb 2006, 05:45

Thanks DRS for the notations!
This kriti has the potential for renderng as a major concert piece. The aalapanai can be done elaborately and 'kaveri taTa vAsa subhASha' appears a bright spot swara-wise for a neravel as well as kalpana swaram. It will be nice if one of our rasikas has a go at it!

It is nice of you to compose on the deity of your native place. Would love to see the picture of the temple and deity and any related anecdote. Interesting to note the maruval of kuLal to kONal! (Is it indeed a winding way leading to the village

.

Please indicate the special prayOgams used in the kriti and any other hidden beauties!

I am sure it is not an accident to have chosen sAvEri for the deity on the banks of kAvEri.

Well-known adage:
"nathikaLil chiRanthathu kAvEri; rAgaththil chiRanthathu sAvEri"

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 21:25

CML
You have correctly zeroed in on the neraval point. kAvErItaTavAasa is a neat point for neraval.
As you all would have noted in the notation, I have used the prayOga "R, D, R* ," which conveys both vIra and adbhuta rasas. R1-D1 are vAdi-samvAdi.
The 3 sangatis of "tArayASumAm" convey a tIvra/utkaTa desire and an urgency in the plea.
The notation for "kalikalmaSjanASa" has a typical pattern. Also padaviSESha ends on the tAra ShaDja while the nirviESha, which mean nirguNa, starts on the tAra ShaDja and directly comes down to the AdhAra ShaDja signifying loss of all external attributes to reveal the paravastu, the origin of everything. Then again "jIvakOTivikAsa" starts expanding from this point. "kAmyapUraNa" finds pUrNatva in the tAraShaDja.

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 21:47

Snaps of lakShmIkESava of kauSika, Hassan Dt, the patron deity of sankEtis.
Srkris, can you please upload them here.

http://rapidshare.de/files/13554502/kauSika.rar.html

drshrikaanth · Post by **drshrikaanth** » 18 Feb 2006, 21:48

And the next kRti in kApi, rUpakatALa:-

http://rapidshare.de/files/13550845/kaL ... h.wma.html

cmlover · Post by **cmlover** » 18 Feb 2006, 22:26

DRs

May I request you to elucidate the special role of madhyama and nishada in saveri and especially comment on the 'saveri madhyamam'. Could you point out where the special features occur in your kriti?

Badri/others
Can we have an audio of the saveri varnam 'sarasuda' to appreciate the nuances of this raga and

meena
could we have its lyric with notations!

Syama sastri's very first composition was supposed to have been in Saveri. Was it 'dhurusuga'? Any special renderings....

I am not letting DRS rush through but want to relish the music (and its beauty) bit by bit!
(avaricious? Yes!)

meena · Post by **meena** » 18 Feb 2006, 23:58

cmlover wrote

meena
could we have its lyric with notations!

notations for sarasudA varNa- sAvEri- Adi- Composer kottavAsal Venkatrama iyer

deleted rapidshare links

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 01:54

DRs

May I request you to elucidate the special role of madhyama and nishada in saveri and especially comment on the 'saveri madhyamam'. Could you point out where the special features occur in your kriti?-----

---I am not letting DRS rush through but want to relish the music (and its beauty) bit by bit!
(avaricious? Yes!)

madhyama is treated variously in sAvEri. Apart from the plain note, it is also rendered with a jAru from D or P as in phrases "PDM~;" and "DPM;". This makes it sharper(tIvra) and gives a glimpse of M2. This is called sAvEri madhyama. A similar effect is also seen in bhairavi(note the prayOgas in the 2nd ciTTeswara of the varna) . There are some subtle differences but the effect of sharpening is similar.
In sAvEri, after the jAru, madhyama is oscillated(kampana, jagguvike) and merges with G that follows. The oscillation stretches to dhaivata on the upper limit and, when followed by gAndhAra, merges with it on the lower end.
In the rAga, triSruti gAndhAra and triSruti niShAda occur i.e G and N lower than the standard G3 and N3. The oscillated G is very well known in the rAga. A classic illustration for the triSruti gAndhAra is the start of tyAgarAja`s "rAmabANa". The kRtis starts on "GRGRS," wherein the first gAndhAra is triSruti. triSruti niShAda occurs in phrases such as "PDNP", "PDNPD," i.e when it is approached from below.

prayOgas in my kRti
sAvEri madhyama occurs in the pallavi itself. In "sad", and SI of "SIla" and in the anupallavi at nandakiSOra". The plain madhyama is typically seen in "kAraNa" in madhyamakAla sAhitya. An upward oscillation to madyhama in ArOhaNa prayOgas resultingin a mreging with P is seen in the caraNa;- "jita" (pUjita pada viSESha).
triSruti niShAda occurs in pallavi in "guNa"(sadguNaSIla).
triSruti G occurs in a number of places;- "mAra" in anupallavi(rUpajitamAra) and in "gAnarata" of the carana.
The dIrgha kampita gAndhAra of course is seen in in"la" of guNaSIla of the pallavi.

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 02:01

Here are links to scholarly articles on sAvEri-

The newsletter from carnatica

http://www.carnatica.net/newsletter/sav ... letter.htm

This from sangeetham

http://www.chennaionline.com/music/carn ... /338th.asp

Meena
Thanks for the varNa notation. It will be nice if you participated in the discussions also apart fro responding to questions directed to you.

cmlover · Post by **cmlover** » 19 Feb 2006, 04:40

Thanks meena! I second DRS's views!

Thanks DRS for the wealth of information. These analyses in context are highly educational!
I notice that PDNPD as well as GRGRS violate the grammar of the raga but were used by Thyagaraja! In the sanskrit language Panini retrofitted his grammar engine which led to rules of exceptions (ArSha prayOgams) but classical sanskrit (except some notable anomalies in Kalidasa, mAgha, ?) is squeaky clean. Sometimes I do agree that rules are made to be broken!

Thanks for the darshan! Was mildly surprised to see Venugopala riding on the Garud Azhvaar!

Awaiting the lyric of the Kapi and I am sure Saveri is still open for discussion for our Rasikas. I do recommend the learners to use your rendering as a template and use the notations (which are excellent) to focus on the swara prayogams! Saveri gamakams are indeed complex which cannot be captured inside the notation scheme.

I was hoping Sahana-priyan will have some comments on Saveri and SyamaSastri connection!

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 05:52

SyAmASAstri`s first composition was "janani natajana paripAlini" in sAvEri. It is worth noting that he did not include his mudre in this kRti.
A link for a rendering of this kRti(reposting from SyAmASAstri thread, courtesy knrh05)

http://rapidshare.de/files/13537444/janani.mp3.html

After Anandabhairavi, sAvEri was the rAga which SyAmASAstri excelled in.

-----
Thanks DRS for the wealth of information. These analyses in context are highly educational!
I notice that PDNPD as well as GRGRS violate the grammar of the raga but were used by Thyagaraja! ---

Actually these two prayOgas are well in conformation with the scale. It will be clear if you split the phrases into 2 distinct avarOhi prayOgas(GR & GRS, PD & NPD). Even if it werent, the general rule with time-tested rAgas is that the Scale is in violation of the rAga grammar/lakShaNa, not the other way round.

Thanks for the darshan! Was mildly surprised to see Venugopala riding on the Garud Azhvaar!

vENugOpAla? No flute there. The mUrti is caturbhujasahita and holds Sankha-cakra-gadA-padma

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 07:11

mAtu of kaLavaLu tIripi

rAga- hindUstAni kApi, rUpakatALa

kaLavaLu tIripiya varakA- pItavasana kESava ||P||

aLara kanne kRShNA kRShNA | a^NDa kShaName vandayAmE |
aLala tALAdinDEsu | aNNa unna aLacAmE ||AP||

muntivariya mansilla | pintivAngakkAcilla |
cintipiyAdiruduma^NNa | SrIkAntu samayamilla |
muntikOdu tOcitilla | muTTiruLU kaLanjilla |
munti pintihaLa valla | murahara nInEyellA ||C||

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 07:11

CML
I am still awaiting your expert comments on sadguNaSIla and hRttApahara!

cmlover · Post by **cmlover** » 19 Feb 2006, 10:49

DRS

'h^RttApahara' is a clean acceptable compound! My mistake it is of mixing up with the previous word because of the gap in the lyric.

Regarding dArA I am afraid DikShitar is wrong as we have debated at sangItam about sEnA. Panini 1.2.48 quite clearly forbids such compound formations (to the best of my knowledge). However I do not want to resurrect the debate here since it will take us off the topic!

I took your quote
"The sAvEri krti is on vENugOpAlaswAmi of koNanUru, my native place in Hassan Dt, Karnataka"

and assumed that the deity in the picture was VENugOpAla. Is that 'cennakEshava perumaaL'?

Thanks for the Kapi and look forward to the meaning of the lyrics!

cmlover · Post by **cmlover** » 19 Feb 2006, 10:51

cancelled

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 17:11

DRS--------
and assumed that the deity in the picture was VENugOpAla. Is that 'cennakEshava perumaaL'?

Thanks for the Kapi and look forward to the meaning of the lyrics!

Thanks for the clarifications CML.

The deity is lakShmIkESava. cennakESava is the name of the world-famous deity in bElUru celebrated by the renowned kannada poet D.V.Gundappa in his beautiful "antaHpuragIte". Ravi, are you familiar with the antaHpuragIte. They are quite replete with SrngAra bhava. And the lyrics are so delectable written in the classic form of kannaDa.

drshrikaanth · Post by **drshrikaanth** » 19 Feb 2006, 17:13

Word for word meaning of the kApi kRti.

kaLavaLu- dilemma, distress, quandary(kalavaram); tIripiya- to end/remove;
varaka- do come(varuga); aLara kanne- the distressed and crying maiden(draupaDi);
a^NDa kShaName- the very moment that she uttered; vandayAmE- it seems you came;
aLala- sorrow, distress; tAlAde- being unable to bear/suffer; iNDEsu- this day/today;
aNNa- this form of address is used to call ones father, elder brother as well as younger
boys in an affectionate manner;
unna aLacAme- We called you;

muntivari- move forward; pinti vAnga- to withdraw(pinvAnga); Acilla- could not do;
cintipiyAde- without worrying; irudu- let me/us be; munti- forward, future, anymore;
Odu- means what (enna). oDU is similar to onnumE/eduvumE in taamizh;
tOcitilla- did not occur/ could not think of a solution;
muTTiruLU- even the darkness that surrounds (sUzhnda iruL, muRRiya iruL);
kaLanjilla- did not decrease/dissipate/dispel;
munti pintiha- furure and past; valla- knowing;

Running meaning

O kESava clad in pItAmbara(ochre silk)! Do come to resolve my dilemma/distress.

Did you not come as soon as the maiden in distress draupadi cried "kRShNA kRShNA"?
O aNNa, we are crying out to you today unable to bear this distress and sorrow. Come anon!

There is no wish to move forward and continue as things are. But neither is a withdrawal possible. And there is no time to sit quietly without worrying as an ostrich does by burying its head in the sand. Time is running out fast. And no solution is occuring. The quandary is unresolving and looming large. And the darkness surrounding te mind is not dissipating. O murahara! You are in the know of both the past and the future. Come now! You come and do remove all dilemma and distress.

cmlover · Post by **cmlover** » 19 Feb 2006, 22:21

What happened?
We seem to have lost all posts after the 14th! Deja vU!

cmlover · Post by **cmlover** » 19 Feb 2006, 23:44

Magnificent kApI served by sahAnA!

When I heard that tara sthaayI 'krishna! krishna!' i had indeed a horripilation! Now with the meanings (though you have left out some words!) I get complete fulfilment of the thirst indeed!

Thanks!

drshrikaanth · Post by **drshrikaanth** » 20 Feb 2006, 07:23

Magnificent kApI served by sahAnA!---------
Thanks!

ide ide idettAn nA edirpArttEn!

)

I composed the kApi kRti on 25.01.2004. Although unable to reveal details, I composed this kRti at a time when I was in a great dilemma. In th kRti, I have reminded Him gently that He is renowned for rescuing people from tight spots. I have included the rAgamudre in the pallavi itself.