Dr. Shrikaanth K Murthy

drshrikaanth · Post by **drshrikaanth** » 20 Feb 2006, 07:33

The popular kApi`s full name is hindUstAni kApi, to differentiate it from karnATaka kApi.

The rAga is best captured by this mUrchane

SR2M1PN3S* | S*N2D2N2PD1PMG3MG2RS ||

This is a bhAShAnga janya of the 22nd mELa- SrI/kharaharapriya. Th bhAShAnga swaras are G3, D1 and N3. The jIva and rAgachAye swaras are a long R, M and N. The rAga evokes SRngAra and karuNe. But there is an ace up this rAga`s sleeve which is not shown in the mUrchane. The kaiSikI niShAda does occur in some ArOhaNa prayOgas. Actually in many places, the niShAda has a kampana wherein it is difficult to characterize it either as N2 or N3. gAndhAra too is similarly shaken.

drshrikaanth · Post by **drshrikaanth** » 20 Feb 2006, 15:07

The photograph of vENugOpAlaswAmi of koNanuru as I had promised earlier.

http://rapidshare.de/files/13690006/KoL ... u.jpg.html

srkris please upload the image directly(and also the earlier one on the last page of lakShmIkESavaswAmi)

cmlover · Post by **cmlover** » 20 Feb 2006, 21:30

DRS

The background you mentioned ties in very well with the 'entreating' (kuzhaivu) mood so nicely captured by Sahana. The pallavi itself says the whole story. A superb song and a superb rendering (fit enough for a movie theme!).

In case you have not yet caught up to it, when I sang sahana I was going to choose finally kApI but chose kAnaDa instead, seceding the glory to Sahana and admitting defeat in my humble humorous escapade

Is it too much to ask you for the notes for Pallavi and anupallavi? Take your time! prof SRJ nots that kApI is a raga that cannot be delineated by the aro/avaro which is quite evident from your kriti!

Thanks for the picture of Sri Venugopala!

drshrikaanth · Post by **drshrikaanth** » 20 Feb 2006, 22:22

Thanks kris for uploading images.

CML
I was one of the early birds to catch the vRtta in the sragdharA metre sung so well by you.
I had no doubts it was you despite your disclaimer- idam na mama. nissamSayam adas tavaiva ca |[Is this correct? If not please tell me the correct form]

My only complaint is that you did not do the honour to one of my compositions first

rshankar · Post by **rshankar** » 20 Feb 2006, 23:30

DRS,
I have heard of the antahpura gItas, but have not heard them. I think the Mysore school of Bharatanatyam has danced to these pieces. Meena, comments? Kulkarni sa'ab, any chance of one or more of these?
CML<
Where is the link to your song? I must have missed it. I hate it when work interferes with CM!

Ravi

cmlover · Post by **cmlover** » 20 Feb 2006, 23:52

DRS

I was a harikatha exponent in my heydays (due to the inspiration of HMB!) before my voice gaveup on me! I consider your kritis too sacred to dally with

it is smart you got the sragdharA!

bhO! asau ahamasmi
tathApi karmaNyEva adhikArO mE mA phalEShu kadAcana|

cmlover · Post by **cmlover** » 20 Feb 2006, 23:55

Shankar!

I was only responding to your sahitya request

meena · Post by **meena** » 21 Feb 2006, 01:12

antahpura geetegalu of dr. dv gundappa are available on kanndaaudio.com

sankar

i was not aware of antahpura geetas till now, just heard the clips on net.
i have not seen it performed on the stage, but searching on the net i see quite a few dance schools in b'lore/mysore have perfomed based on DVG poems.

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 01:45

Ravi
here are the links for the antaHpuragIte rendered mostly as bhAvagItes. I have of course heard them in clasiical melodies as well. DVG himself specified the rAgas and tALas suiting the mood of the gItes.

http://www.kannadaaudio.com/Songs/Bhaav ... galu/1.ram

http://www.kannadaaudio.com/Songs/Bhaav ... galu/2.ram

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 05:35

Notation for pallavi and anupallavi of the kApi kRti.

http://rapidshare.de/files/13749624/kaL ... h.pdf.html

cmlover · Post by **cmlover** » 21 Feb 2006, 07:49

Thanks for the notation.
Though you have notated taara madhyamam for 'kriShNa' sahana in her enthusiam had touched atitaara gaandhaaram but she later has toned down!

I liked the antaHpuragIte ... Is it part of the light music genre?

Is kApI indeed a northern raga imported into CM? Is there a version called 'andhra kaaphI' referred to in ragalakShanamu of shAhajI?

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 08:17

The version of antaHpuragIte I posted is in the light classical genre-bhAvagIte whic fall in between classical and film music. You would have noticed that some of the songs were very classical(as the one in cArukESi). But DVG very likely meant them to be sung classically as he has specified rAgas and tALas for each song after much thought. The poems are a delight to red. DVG has lived the pAtras. He has also composed a vRtta/SlOka as a sUtra/inroduc]ction for each song which were also sung in the link that I posted. All of them are of course dedicated to cennakESav. In a way they are like jayadEva`s aShTapadis.

hindUstAni kApi is considerd as a northern/dESi rAga. The original kApi however is mentioned as a rakti rAga and as bhAShAnga(The connotations were different then) but NOT a dESi rAga in the rAgalakShaNa appendix of mudduvenkaTamakhi.

I am not aware of any compositions in AndhrakApi. It may have been in circulation in some circles in the past. Which mELa is it a janya of?

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 08:20

DRS

I was a harikatha exponent in my heydays (due to the inspiration of HMB!) before my voice gaveup on me! I consider your kritis too sacred to dally with ----|

No wonder you have glided so smoothly from one rAga to another. My aunt(doddamma/periyamma) is a gamaka exponent and the bhAva she brings out in each rAga within a phrase or 2 is something even a classical performer will envy.

cmlover · Post by **cmlover** » 21 Feb 2006, 08:29

22
Aro SRGMRPMPDNS'

cmlover · Post by **cmlover** » 21 Feb 2006, 08:37

Perhaps she was an expert in singing:
shankarAbharaNanai azaith thODi vA kalyANI darbhArukku

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 08:40

22
Aro SRGMRPMPDNS'

Only unmukha- evr soaring upwards!

Shri R.R.Keshavamurthy mentions a variation of kApi with the above ArOhaNa and a kramasampUrNa avarOhaNa in the appendix of his book. He does not mention AndhrakAPi. In which text did you find mention of the name?

cmlover · Post by **cmlover** » 21 Feb 2006, 08:44

The quote is from
RagalakShaNasangraha of Hema Ramanathan

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 09:03

Coolkarni/badri
can we have akhilANDESvari of SS(or any other composition) in karNATaka kApi. It will be helpful to see how very different the two are.

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 09:12

Some compositions in karnATaka kApi

KausumbavAsanOpEt- cApu -HMB
jUtAmu rArE- tyAgarAja
Akhilandeswari- Adi Syama Sastri
adarInE mOvi-cApu-kShEtraj~na
amma kRpai tandu- mazhavai cidambara Iyer
SambhO satatam- swAti tirunAL.

cmlover · Post by **cmlover** » 21 Feb 2006, 09:25

Here is venkitachalapate by KJY
http://rapidshare.de/files/13759112/Ven ... Y.mp3.html
Shows off the difference quite clearly....

cmlover · Post by **cmlover** » 21 Feb 2006, 09:41

Here is the lyric too!
Is this authentic MD?
venkaTAcalapatE. rAgA: karNATakakApi. tALA: Adi.
P: venkaTAcalapatE ninnu nammiti vEgamE nanu rakSiyumayya
A: pankajAsana pramukhAdi vinuta padamunAshrayincina vArikella
sankaTamulu dIrcci sampadalicci mangaLam pOrundiya pulivalattil viLangum
C: shrInivAsa shESAcala muninci shIghramAi vandu andunikabhISTa dAnamOsagi
gOkarNa kSEtramulO nelakOni mrkaNDu munikaL mudalAna bhaktAnAm abhaya
varapradAna caturatara ramApatE dayAnidhE pratyakSamugA ninda mAnilattil
nin mahimai anEkam vAnavar vaNangum vAsudEvanE vAncitArttha phalamiccu
varadanE dInarakSakA pItAmbaradharA dEvadEva guruguhan mAmanAna

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 16:30

The song is notated in SSP as MD kRti. No reason to doubt it. Also, the break of sAhitya so as to fit the prAsa is typical MD style.
Thnaks for the song. As for KJY`s rendition, it appears to stick to the roiginal version but I would rather have a second opinion;) have heard this and vIrahanumatE as well. It sounds just like kharaharapriya in places and ver kAnaDA in others. It is considered the older versio of kAnaDa. Several kRtis of various composers are notated in the SSP. I specifically did not put them in the list as I wanted to know if the others handled it differently. I have heard akhilANDESvari (BMK and one or two others) and IIRC they sounded different. Lets wait for coolkarni, badri or anyone to post other pieces. Hope Coolkarni is not so repentant/petulant

(only joking coolkarni. No sarcasm or offence please)

srkris · Post by **srkris** » 21 Feb 2006, 20:09

Is this authentic MD?

Very valid question. It appears to be a curious mix of Sanskrit, Telugu and Tamil.

drshrikaanth · Post by **drshrikaanth** » 21 Feb 2006, 20:14

Yep. It is one of MD`s maNipravALa kRtis. Recall another in SrIrAga- SrI abhayAmba ninu from the abhayAmba series.

cmlover · Post by **cmlover** » 22 Feb 2006, 01:06

AhA bOgI!

kApI dAham thIrntha pinnum
ishai mOham thaNiavillai
bhOgam thIrppathaRkku
A bOgI raagamuNdu!

cmlover · Post by **cmlover** » 22 Feb 2006, 01:39

Is kApAli playing hide and seek

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 02:08

taTTungaL tiRakkappaDum. kELungaL koDukkappaDum .

http://rapidshare.de/files/13816420/kAp ... h.wma.html

Sorry I posted the wrong version. Changes in the caraNa.

cmlover · Post by **cmlover** » 22 Feb 2006, 03:47

I'll await the lyrics! Not to spoof you

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 03:53

Here we go-

kApAli karuNai pozhivAY

rAga- abhOgi; AditALa

kApAli karuNai pozhivAy ana- |
-gA pAlippadum bARamA mayilai ||P||

abayam abayam ena varuvOr tam
avam tIrkkum SrIkAntanuL irum ||AP||

mEdini Endiya mAdavan pugazh para- |
mE dinigaiyp peRA maN sumandAyE |
mEdi nisAnanai mAyttavanE baya-
mEdini unnaruL mEvum aDiyOrkku ||C||

cmlover · Post by **cmlover** » 22 Feb 2006, 05:24

I am lost on the allusions in the charaNam. The swara kalpana is dazzling. Of course I would love the notations. The initial aalaapana is quite nice and pleasant too! What happened to the raga mudra?
Now we can entreat
mOhana kApAli karuNai nilavu pozhiyA pOgil karuNai pozhivAy
(bewitching kApAli if you didn't shower (pozhiyA pOgil) moonbeam of mercy (karuNai nilavu)(then atleast) shower mercy (karuNai pozhivAy):)

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 05:43

Meaning of kApAli karuNai pozhivAY

kApAli - O kApAli (kapAlISvara of Mylapore, Chennai) !
karuNai pozhivAy- shower your mercy;
anagA- You Who is faultless/blemishless(anagha);
pAlippadum bARamA- Is protecting me so difficult for You;
mayilai- Mylapore.

abayam abayam ena varuvOr tam- Those People who come to you for refuge;
avam- sins, faults, stain; SrIkAntan uL irum- You Who reside in SrIkAnta`s mind;

mEdini- earth; Endiya- bearing, supporting; mAdavan- viShNu;
pugazh-praise; paramE- paravastu, parabrahma;
dinigaiy- daily wages; peRA- to obtain;
maN sumandAyE- You bore mud didn`t you?
mEdi nisAnan- yama (Him who has the buffalo as his banner/flag), mEdiyai nisAnAga uDaiyavan;
mAyttavanE- You Who slayed;
bayamEdu ini- Whither/wherefore any fear now;
unnaruL- Your compassion/blessings;
mEvum- obtaining;
aDiyOrkku- to devoteees.

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 05:56

Running meaning

O sinless/faultless Lord kapAlISvara of Mylapore, shower your mercy. Is it so very difficult for You to show compassion to your devotee.

You are renowned for removing all sins and faults of those who seek refuge in you. O Lord Who reside in the heart/mind of SrikAnta, shower thy mercy.

O parabrahma Who are praised by mAdhava, Him that lifted the earth ( Here Endiya can be applied to either Siva or mAdhava thus giving 2 interpretations. That ISvara supports the world/universe. and that the earth was lifted by viShNu in the varAha avatAra); You bore and carried mud for daily wages
This refers to the vandi episode- piTTukku maN sumattal.

You slayed/subdued yama with the banner of a buffalo(mahiShalAnchana); There is nothing to fear for those devotees that obtain your divine grace. Therefore, shower Thy mercy on me.

CML
Please relate the piTTukku maN sumattal episode for the ebefit of those that dont know, in your inimitable style.

rshankar · Post by **rshankar** » 22 Feb 2006, 06:05

Thanks DRS for that lovely kriti on kapAlI...brings back memories of summer vacations in Luz in my grandparents home, and countless visits to kapAlIshwarar temple EARLY in the morning and/or late in the evening. I loved to look at the vigraham of karpagAmbikai especially, since she used to be draped in a 9-yards saree just like my grandmother (the only person in my life to wear that style of saree). Thanks for the nostalgic trip.
Ravi

cmlover · Post by **cmlover** » 22 Feb 2006, 06:52

PiTTukku maN chumantha kathai
(Story of carrying sand for piTTu (a delicious confectionary)
This is from the ThiruviLayaaDal purANaM

Once the river vaigai (at madurai) got flooded. The pANDya king ordered that the citizens should all contribute to repairing the shores to ward off the flooding. One old lady (name vanthi) found herself unable to contribute labour and being a devout woman prayed to Siva (Lord Sundaresa). The Lord decided to make an amusing game of it and assumed the role of a day-labourer and agreed to contribute service on behalf of the old woman in exchange for her piTTu. But after eating her piTTu he sat relaxing under a tree and went to sleep. When the king came for the inspection he found that everyone except vanthi had finished their job. After being told that it was the job of the hired labourer who was sleeping under the tree the angered king took his golden cane and flashed it on the back of the sleeping labourer. Now the pain of the beating was felt by every living thing in the universe including the king! The Lord laughed and disappeared only to reappear in full panoply to give salvation to the devoted old lady and to enlighten the penitant King that it was all part of his divine play (thiru viLayaadal)

cmlover · Post by **cmlover** » 22 Feb 2006, 07:16

couple of points:

mEdini Endiya mAdavan = Vishnu who carried the earth ( as varAha)
I am not sure dinigai can be interpreted as daily wages; but
dinaKai = dina (daily) kai(mmArU)(reward) will be apprpriate.

mEdi niSAnan = one whose indicator(niSA) is the buffalo(mEdi) = yama since the vehicle of yama is the buffalo

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 07:24

CML
Thanks for the story. Now if some blessed soul can post the snaps of kapAlISvara and karpagAmbAL, and an image of the temple. That would be lovely.

Ravi
Old memories always come with a pang- sweet sorrow. (The word nostalgia means exactly that- painful recollection!). Yes. A visit to the temple is lovely as also browsing in those roadside second hand bookshops that Mylapore is famous for. The old vendor even took me to his house, bless him. I did not have the heart to disappoint him nor come empty-handed and hence bought a book of music though I did not particularly fancy it. And the shops in car street are always nice to go around.
And you are right. One feels closer to ambA. After all She is Mother.

I rendered this kRti in His sannidhi. A nice mAmi came and praised my singing too! I guess the temple kept a peacock(I wouldnt call it tame) even when you used to visit. But the one that was there when I visited! Boy was it snappy! The mean fellow was a typical 2angry young man". On approaching, it came straight and pecked me hard. Not one to easily give up, I ended up getting chased by the peacock several times. Mind you I wasnt a child then.

drshrikaanth · Post by **drshrikaanth** » 22 Feb 2006, 07:30

couple of points:

mEdini Endiya mAdavan = Vishnu who carried the earth ( as varAha)
I am not sure dinigai can be interpreted as daily wages; but
dinaKai = dina (daily) kai(mmArU)(reward) will be apprpriate.

mEdi niSAnan = one whose indicator(niSA) is the buffalo(mEdi) = yama since the vehicle of yama is the buffalo

dinikai actually means "daily wages"- Not my interpretation.
And yes, mEdinisAnan means yama only. In fact that is the secret behind the "hide and seek"

Sorry if my posted meanings were not clear.

new_cmfan · Post by **new_cmfan** » 22 Feb 2006, 07:46

CML - Thank you so much for posting the translations of your one-liners in sanskrit - Now i am learning some sanskrit to go with the knowledge i am gaining in CM
(which is the main dish? which is the side dish? Who cares as long as the stomach is filled?)

cmlover · Post by **cmlover** » 22 Feb 2006, 23:19

DRS
simple solution! You should have sung
"kApAli karuNai pozhivAy ana- |
-gA pAlippadum bARamA mayilidamirunthu.."

Tell us the special prayogams in this piece (and of course the notation!). I just loved the lilting "waves" of swarams (like the Triplicane beach!) at the sonorous 'mEdini Endiya..'

kiransurya · Post by **kiransurya** » 22 Feb 2006, 23:44

Hi DRS
Just to let you know that I sang your geetham in Malahari on Sri Ganesh this morning to a few Musically talented people. They liked it very much. Trust me. They were surprised to know that is not a pillari geetham and was written by someone else. They liked it very much, they took the notation too.
I Would really appreciate if you post full notations to your songs along with audio so that I can (sorry!!! we all can) sing/teach them
Thanks again for enriching us all with your musical knowledge. May God bless you..
By the by can I have the full notation for your krithi in Jhankaarabhramari that you posted a few weeks ago?

Cheers
Kiran

drshrikaanth · Post by **drshrikaanth** » 23 Feb 2006, 02:24

DRS
simple solution! You should have sung
"kApAli karuNai pozhivAy ana- |
-gA pAlippadum bARamA mayilidamirunthu.."

Tell us the special prayogams in this piece (and of course the notation!). I just loved the lilting "waves" of swarams (like the Triplicane beach!) at the sonorous 'mEdini Endiya..'

Good one.

:D:D

drshrikaanth · Post by **drshrikaanth** » 23 Feb 2006, 02:25

Thanks Kiran for the heartening post. Will write and post notation for the kRti you asked as soon as I find time.

cmlover · Post by **cmlover** » 23 Feb 2006, 02:30

Kiran
Could you u/l your rendering. It will help learners to get objectively the nuances. I am very much in favour of full notations!

kiransurya · Post by **kiransurya** » 23 Feb 2006, 03:14

Sure CML

BTW, DRS can u write the notation for me in English?

Thanks a ton

Kiran

venkatpv · Post by **venkatpv** » 23 Feb 2006, 03:23

DRS,
by far, the kriti which i loved the most was Bekkasa beragade in Vamsavati... talk about first impressions!!! =D
i listened to it about a 100 times the day i d/led it... not that the other kritis are any less impressive, but i am in love with the vamsavati kriti!!

drshrikaanth · Post by **drshrikaanth** » 23 Feb 2006, 04:02

In the kRti, I have used tha yamakAlankAra. yamaka is an embellishment used in poetry. It is the recurrence of the same particular groups of letters/akSharas or words in a specified place giving rise to different meanings.In the kRti there are 2 occurrences of yamaka.

kApALi occurs twice at the beginning of each line of the pallavi (kApAli and anagApAlippadum). And "mEdini" occurs at the beginning of each line of the caraNa.

The kRti begins on the gAndhAra note which is unsual. The kRtis I have heard have begun on R, M , D and S*. There is a swarAkShara on the gANdhAra(kA for G) at the commencemet of pallavi, and in the caraNa("M, D M" for mAdavan .

janTi prayOgas of swaras enhances the beauty of the rAga. There are plenty of instances of jaNTi prayOgas in the kRti. Also prayOgas like " SR-RG-GM-MD-" and its reverse "SD- DM-MG" (Ahata and pratyAhata gamakas)are good and I have used them. In these prayOgas, the stress is on the first note of each pair. While in jaNTi prayOgas(SS-RR-GG-MM---), the stress is usually on the send note of the pair.

R and D aree vAdi samvAdi. R,M,D are jIva and nyAa swaras. D and G are oscillated. In this kRti, I have used gAndhAra with its various gamakas.(steady, upward oscillation, downward oscillation and jAru as in nAyaki).

cmlover · Post by **cmlover** » 23 Feb 2006, 04:28

I did get the beauty of the yamaka praYogas and did want to reconcile them with the notes!
I do agree with the beauty of the jaNTa prayOgams. In fact it adds real elegance towards the end of the kalpana swaram to finish with a flourish!

prof SRJ gives full credit to thyagaraja for the AbhOgI raga! My favourite (was

) GKB's sabhapatikku rendered soulfully by KVN (Badri pl post if there is a non-commercial version!). I have to congratulate you for completely avoiding shades of sriranjani! Anything else we should know about this fine raga?

permit me the liberty of posting another hasya shloka (referring to the absence of subramanian as also activity at the sangeetham site

http://rapidshare.de/files/13903775/Thi ... i.mp3.html
Fuller discussion and lyric can be found at
http://www.sangeetham.com/bboard/quest. ... 5&forid=13
Thanks for the indulgence

(meena if you really need it I will translate it at sangeetham..)

drshrikaanth · Post by **drshrikaanth** » 23 Feb 2006, 05:07

abhOgi (also called AbhOgi) is bhaktirasapradhAna. R.R.Keshavamurthy mentions that it is a rAga eminently suited for "tattvabOdhane". I think we can farily confidently give credit to tyAgarAja for bringing this rAga to light. There is "SrIlakShmIvarAham" attributed to MD. The kRti is fine till the caraNa where the prAsa begins to totter and never recovers balance. TNeither the kRti nor the rAga is mentioned in the SSP. And the rAga is also absent in the caturdaNDIprakASike and the anubandha by mudduvenkaTamakhi.
I do love sabhApatikku.

I composed this kRti on 30.05.1998.

Am still waiting for snaps of the Mylapore temple deities. And also karnATaka kApi.

coolkarni- Are you listening?

drshrikaanth · Post by **drshrikaanth** » 23 Feb 2006, 05:12

Venkat
Thanks for chipping in. "More the merrier".

kiransurya
awiating ur rendering.

CML
I had seen the thread in sangeetham already. Now enjoyed the viruttam in kamAc too- nalla tUdu.

cmlover · Post by **cmlover** » 23 Feb 2006, 05:38

DRS
Following link gives most of the pictures. Pl choose
http://www.eprarthana.com/temples/chenn ... sp?tid=171