Pancharatna kritis

jayaram · Post by **jayaram** » 14 Jan 2007, 05:08

Wikipedia has this write-up on Pancharatna kritis:

A particularly difficult musical challenge has been taken up successfully by Tyagaraja in three of these compositions. The raga Nata has a particularly distinctive use of the 'dhaivatam' note or swara. Tyagaraja has avoided the 'dhaivatam' completely in the first pancharatna kriti without losing the swarupa of Nata ragam. Similarly 'gandharam' is an accidental note of some beauty in Gaula. Tyagaraja avoids this too (except in one instance) without losing the character of the raga. Finally, he avoids the accidental 'dhaivatam' in Sri ragam, again a note that is present in some very characteristic sancharas of this raga. It requires musicality of a very high order to do something like this not once but three times in very common and much loved ragas like these.

Can someone elaborate on these points. Is there any reason behind why Tyagaraja chose to use these aspects of the ragas?

Suji Ram · Post by **Suji Ram** » 14 Jan 2007, 05:46

There is a nice harikatha by Vishaka Hari in sangeethamshare on pancharatna kritis of T. Don't know if she answers your question

chalanata · Post by **chalanata** » 14 Jan 2007, 08:41

i've read a story that one CM exponent from Mysore came to verify swami's credentials and made fun of swami's simpicity of lyrics and notes. swami in reply composed the pancharatna. he never wanted to give him a direct reply and as usual he converted his genius to sing in praise of Rama than to quench his ego.

jayaram · Post by **jayaram** » 15 Jan 2007, 04:00

I was more interested in learning about the raga aspect of these kritis.

vijay · Post by **vijay** » 15 Jan 2007, 14:22

It is indeed striking that Thyagaraja managed to pull off a krithi in Gowla with just one instance of Gandharam - RGMR is one of the most characteristic prayogas of the raga. Moreover, I did not even realize the fact until your post pointed it out! I guess that is enough evidence of his genius.

Avoidance of Dhaivatham in Nattai is a relatively less noteworthy feature - I believe quite a few composers did so. Same for PDNPM in Sree - I am not sure but I think this prayoga may be a post-trinity phenomenon

mohan · Post by **mohan** » 15 Jan 2007, 15:13

Thyagaraja has also avoided the Ni in Arabhi in his Sadhinchine!

drshrikaanth · Post by **drshrikaanth** » 15 Jan 2007, 16:02

jayaram wrote:
Wikipedia wrote:Similarly 'gandharam' is an accidental note of some beauty in Gaula. Tyagaraja avoids this too (except in one instance) without losing the character of the raga.

This is incorrect. The gAndhAra appears several times in the gauLa pancaratna. It makes its first appearance in the very first line of the pallavi itself and does so in 2 places in all sangatis. It also occurs in "entO" (2nd line of pallavi). It again occurs in the anupallavi in one sangati (ghRShTuDai). Then it occurs in 4 caraNas (Or 3 in some pAThAntaras)- 2nd caraNa (sakalabhUtamulayandu at "madilEka"); 7th caraNa (dRShTiki sArambagu at "lalanA"); 8th caraNa (cakkanimukha at "smaraNalEkanE"; and 9th caraNa (mAnavatanu). It again appears in the anubandha (satulakai) at "satulakai", "sutulakai" and "iTuvaNTi".

Limited use of gAndhAra will not affect the form of gauLa or its rAgabhAva.

ramakriya · Post by **ramakriya** » 15 Jan 2007, 22:51

vijay wrote:Avoidance of Dhaivatham in Nattai is a relatively less noteworthy feature - I believe quite a few composers did so.

In fact, it is the inclusion of Dhaivata, that is rarer than the exclusion IMO. Even though dhaivata appears in MD's kritis, the use is quite minimal I'd say.

However, the tillaisthana pAThAntara of jagadAnandakAraka has plenty of dhaivata

You can here this version at www.surasa.net.

IIRC, Chittibabu also played this version, where the shatshruti dhaivata very prominently features right at the first sangati of the pallavi.

-Ramakriya

Ashwin · Post by **Ashwin** » 16 Jan 2007, 01:06

mohan wrote:Thyagaraja has also avoided the Ni in Arabhi in his Sadhinchine!

I think the tillaisthanam version of sAdincEnE contains at least one instance of kA-ni in "sArasAruDu..." as SNDPMGRR...

There is also a varNam "samukhamunu" in nATa in which sha-dha figures prominently in phrases like SNDNSR and PDNS along with the more common PNS.

Ashwin

Lakshman · Post by **Lakshman** » 16 Jan 2007, 01:42

Ashwin:
The varNa samukhamunu is credited to Vadivelu. Do you happen to have the lyrics for this piece? Thanks.

Ashwin · Post by **Ashwin** » 16 Jan 2007, 02:05

Yes, I believe its a composition of vaDivElu in praise of svAti tirunAL. I have only recently learnt it, so I hope my early interpretation of the sAhitya is correct:

P: samukhamunu kanukoNTinipuDu tsapalamanukoNTirA ipuDu
A: sumaSarunikannaTi SRI padmanAbhuni mamatatO pUjincu mA kulaSEkharEndruni
C: madana tApamu dIrccu mOhanANga

Ashwin

Lakshman · Post by **Lakshman** » 16 Jan 2007, 03:41

Thanks Ashwin.

mahesh33 · Post by **mahesh33** » 30 Jan 2007, 19:41

Does anybody have a detailed renedition of Jagadanandakaaraka "live-in-concert" with alapanaa and all the other frills?

MaheshS · Post by **MaheshS** » 30 Jan 2007, 20:23

There is one that I know of. No alapana, but an elaborate rendetion of the krithi by MDR. Astonishing. Will see if I can upload that one for you.

MaheshS · Post by **MaheshS** » 30 Jan 2007, 21:09

You can download a MDR version from the following link.

http://www.rogepost.com/n/2739324461

mahesh33 · Post by **mahesh33** » 31 Jan 2007, 07:34

That was great. Thanks for the wonderful uploads, Mahesh.

mohan · Post by **mohan** » 31 Jan 2007, 10:09

I remember attending an MLV house concert many years ago where she sang Jagadanandakaraka. I don't have a recording but she sang it quite briskly and didn't sing the Pallavi line after the charana swarams - she went straight into the sahityam.

thanjavur · Post by **thanjavur** » 01 Feb 2007, 03:35

Sangeethapriya (upload by Raju Asokan) - 46 min

SSI, Alathur Srinivasa Iyer

http://www.sangeethapriya.org/~asokan/C ... -Natta.mp3

thanjavur · Post by **thanjavur** » 01 Feb 2007, 03:43

Jagadananda by MBK - 13 min @ Nada Anuboothi

http://home.sprynet.com/~dsivakumar/music/intromus.htm

Music Categories > Carnatic - Vocal > Ragas N... > Natta

Nandy · Post by **Nandy** » 04 Feb 2007, 19:58

Ramakriya,

As far as I have heard,

SR,GMPD(Shatsruti),NS - SNPMGMR,S - is more of Dikshithar school, he uses the Dhaivatham, Mahaganapthim song - chittaswara has Daivatham in it in one phrase - p, dnsrgm- mrsrsnpm - in thara sthayi.
SR,GMPNS - SNPMGMR, S - The dha does not usually come in Thyagaraja school.

Thanks for the surasA.net version. I don't seem to hear the shatsruthi Dhaivatham. It sure isn't in the charanams. I missed it out somewhere in the pallavi/anupallavi

Can you help me out with one or two instances.

Do you have the Chittibabu version with you?

Thanks.

Nandy.

arunk · Post by **arunk** » 04 Feb 2007, 21:03

Nandy - check out this: http://surasa.net/music/karnatak/contri ... n_v1_songs

This is the thillasthanam tradition - the D3 should be very obvious at the beginning itself.

Arun

rbharath · Post by **rbharath** » 06 Feb 2007, 13:19

Ashwin wrote:
mohan wrote:Thyagaraja has also avoided the Ni in Arabhi in his Sadhinchine!
I think the tillaisthanam version of sAdincEnE contains at least one instance of kA-ni in "sArasAruDu..." as SNDPMGRR...
Ashwin

I have heard people sing this caraNam with s s d p m g r r.. and not s n d p m g r r... my teacher also taught me as s s d p m g r r. only...

mohan wrote:she didn't sing the Pallavi line after the charana swarams - she went straight into the sahityam.

some people do it to save time.

Also, there is this varNam 'srI nAta' composed by vINai kuppaiyyar, which has a liberal usage of the dhaivatam.

The popular sarasijanAbha varNam also has some dhaivatam in it i guess.

Nandy · Post by **Nandy** » 13 Feb 2007, 00:55

Arun,

Thank you.

In the first sangathi itself D3 is obvious.

Nandy.

Ashwin · Post by **Ashwin** » 13 Feb 2007, 03:47

I have heard people sing this caraNam with s s d p m g r r.. and not s n d p m g r r... my teacher also taught me as s s d p m g r r. only...

I'm assuming that later in the same caraNam you sing s d r s r , r instead of n d r s r , r ... I remember hearing a very compelling argument that the tillaisthAnam school uses niShAda in Arabhi but have forgotten the specifics - will have to look into it and will post it if I find it.

Ashwin