Thamizh Songs in Carnatic Music—22-- ini enna pEccirukkudu pOm----- இனி என்ன பேச்சிருக்குது போம்

Thamizh Songs in Carnatic Music—22

ini enna pEccirukkudu pOm----- இனி என்ன பேச்சிருக்குது போம்

Composer: VaidIswarankoyil SubbarAma ayyar

(வைதீஸ்வரன் கோயில் ஸுப்பராம அய்யர்)

rAgam: shahAnA (சஹானா)    rUpaka tALam  (ரூபக தாளம்). 

Background: This song is a padam. The composer creates a maiden who is pining for Lord Murugan. She has imagined that the lord visited her in private once and that he has not turned up after that. She feels everyone around is talking rather disparagingly about that. She is not enamored anymore of her lord and will not have anything to do with him.

பல்லவி :

இனி என்ன பேச்சிருக்கிது போம் போம்

எல்லோர்க்கும் நகைப்பாச்சுது 

அனுபல்லவி:

தனியே வந்திங்கே வாராதிருந்ததோர்

தப்பிதம் போதாதோ முத்தய்ய வேலரே  (இனி)

சரணம்:

மனதிற் கிசைந்த படியாச்சே மட்டுமீறிப்  போச்சே

குசும குந்தள வள்ளி  மணாளரே சுப்பராமன்

தமிழ்க் கிசைந்த வேலரே        (இனி)

Lyrics in Roman script

Pallavi:

ini enna pEccirukkidu pOm pOm ellOrkkum nagaippAccudu 

Anupallavi:

taniyE vandingE vArAdirundadOr tappidam pOdAdO muttayya vElarE 

CaraNam:

manadiR kisainda paDiyAccE maTTumIRip  pOccE

 kusuma kundaLa vaLLi maNALarE subbarAman tamizhk kisainda vElarE

Meaning:

Pallavi:  Please go away. There is nothing between us to talk about anymore. It has become a laughing matter for everyone.

Anupallavi: Oh lord, you came here to me without anybody’s knowledge but now you have decided to stay away. Isn’t that one mistake enough?

CaraNam:  It suited you alright. It has also exceeded the norms. You are the consort of VaLLi who has fragrant locks of hair. You like Subbaraman’s Thamizh.

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 Kusumam = flower, fragrance.    kundaLam =women’s hair

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General Comments:

Padams gained currency in the 17^th century. Padams have romantic lyrics and used Thamizh, Telegu, and Malayalam as languages. Ghanam Krishnaiyer and Subbarama Iyer along with Muttut Tandavar were the major composers of Thamizh padams. Padams belong to the dance repertoire but are also sung in music concerts in view of the classical rAgams in which they are composed.  The emotional aspects of padams are very well suited for abhinayam in dance.

In this particular padam our heroine takes issue with Lord Murugan and gives him an imaginary tongue-lashing for having enticed her in the first place and then disappearing from the scene altogether. She feels that her lord has gone back to his favorite consort VaLLi.

Composer’s Bio:

Subbarama Iyer lived in the latter half of the 19^th century in and around Vaideeswarankoil near Seerkazhi. Not much information is available regarding his parentage or education.

He composed many Thamizh padams which are romantic and sometimes erotic in lyrical content. All his padams are full of emotional expressions of a lovelorn maiden peppered with proper words and tuned to classical ragams. He composed several padams in the ragams kAmbhOji, aTAnA, suruTTi, sAvEri, dhanyAsi, and tODi.

He published his padams in a book titled, “MuttukkumArasAmipEril Padam” .

Some other Subbarama Iyer’s compositions that are sung often in the dance and music concerts, and commercial recordings are: ettanai sonnAlum (sAvEri)) nERRandi nErattilE (husEni), engE irundAlum, and padaRi varugudu (kAmbhOji), nERRu vandEnenRu (pantuvarALi), and innum parAmukham (bEgaDa).

Some audio links

Listen to Subhashini Parthasarathy here

Listen to Bombay Sisters here
Listen to D K Jayaraman here:  http://bit.ly/2fkw7az

Listen to Sanjay Subrahmanyan here