Wednesday, August 31, 2016

Thamizh Songs in Carnatic Music—19--உன்னடியே கதியென்றடைந்தேன் --unnaDiyE gatiyenRaDaintEn


Thamizh Songs in Carnatic Music—19


உன்னடியே கதியென்றடைந்தேன் --unnaDiyE gatiyenRaDaintEn

Composer: G. N. Balasubramaniam (GNB)


                                          



I surrender at your feet

Composition:  unnaDiyE gatiyenRaDaintEn
Composer:     G. N. bAlasubramaNyam
mudrA:           none
(signature):   
rAgam:           bahudAri (janyam of harikAmbhoji, 28th mELam) 
tALam:           Adi
ArOhaNam:   SG3M1PD2N2S
AvarOhaNam: SN2PM1G3S

பல்லவி:           
உன்னடியே கதியென்றடைந்தேன் தாயே
உண்மை நீ அறியாயோ உலக நாயகியே      (உன்னடியே)

 அனுபல்லவி:    
பொன்னையும் புகழையும் பூவையரையும் தேடி
சின்னத்தனம் அடைந்து நித்தமும்* மிக வாடி       (உன்னடியே) 
*      சித்தமும்  (variant)  
                                                        
சரணம்:       
முன்னமே உன்னிடம் சொல்லி வைத்தேனே
என்னவந்தாலும் நின் பொன்னடி மறவேனே
பன்னக பூஷணன் பரிவுடன் மருவும்
மின்னல் கொடியாளே இன்னல்கள் தீர்ப்பாயே    (உன்னடியே)               

Lyrics in Roman script

Pallavi:           unnaDiyE gatiyenRaDaintEn tAyE
                        uNmai nI aRiyAyO ulaga nAyakiyE

Anupallavi:    ponnaiyum pughazhaiyum pUvaiyaraiyum tEDi
                        cinnattanam aDaintu nittamum* migha vADi
                  * cittamum (variant)
                       
CaraNam:       munnamE unniDam solli vaittEnE
                        ennavandAlum nin ponnaDi maRavEnE
                        pannaga bhUshaNan parivuDan maruvum
                        minnal koDiyALE innalgaL tIrppAyE

Lyrics:  Courtesy of Lakshman Ragde         

Meaning:

Pallavi:           I have sought refuge at your feet, Oh mother! That is the truth and don’t you know that Oh, the mother of the world!
           
Anupallavi:    I have been going after wealth (gold), fame, and women so far. I have demeaned myself all these days. Now I regret all that.     

CaraNam:       I have confided in you long ago that whatever happens I shall never forget your golden feet. The lord who wears the snake around his neck is so fond of you, Oh, the slender-waisted one, please relieve me of my miseries.
                       
General Comments:

The composer, also a musician of great repute, has written about 250 songs in Telugu, Thamizh, and Sanskrit mostly in praise of Devi.  He was a Sri Vidya Upasaka. This song is also a typical one in the sense that it expresses remorse for one’s past behavior and seeks relief for the miseries (real or imagined) experienced by the author. It is an atonement of sorts.

This is also typical of a composer who had quite a prosperous career early to mid-life enjoying the material comforts. The expression “ponnaiyum, pughazhaiyum pUvaiyaraiyum…” is just the recipe that is attractive for men early in life but all the same loses its significance as one gets older. That is the time when one understands the futility of the worldly possessions and starts to make amends for the “errors” in earlier times.

The theme of the song is appropriate when one considers it philosophically. It is natural for most people to aspire for material possessions when young. After one gets a full measure of them the same status does not offer any more allure. Thoughts turn to divinity and the so-called after-life. Devotion takes the center stage. While many composers and musicians (especially the cadre of the Trinity) of the past were immune to the lure of wealth there were quite a few composers and musicians of the past (and present) who indulged in seeking material comforts for a significant portion of their lives. Obviously it is part of human nature (niti cAla sukhamE!--yes, money brings its own pleasures and problems too!).

This song is simple in concept, crisp in expression and conforms well to poetic grammar. The object of admiration and worship, namely Devi, is described in simple terms, and the song invokes the blessings of Devi.

Composer’s Bio:
G. N. Balasubramanian (1910-1965), popularly known as GNB,  gained prominence in the Carnatic music world when he was still young through a stroke of fate when he was asked to substitute for a top artiste at the Kapaleeswarar temple in Mylapore. He never looked back and his career was blazing after that maiden venture.

GNB learned music from his father and Madurai Subramanya Iyer. He also obtained a B.A (Hons) degree in English literature, a rarity among musicians in the early 20th century. He had a majestic and resonant voice. He was especially known for his brisk brigas and smooth pleasing delivery. His style of madhyamakala delivery was what his fans enjoyed most. He was in great demand in the concert circuit and traveled far and wide in that quest.

GNB had a prosperous career (financially speaking) and lived opulently. He had a heart to help struggling artistes.  He was Principal of the Swati Tirunal College of Music for a few years in Tiruvanantapuram. He was a great teacher and he had several disciples who attained fame and fortune. The late T. R. Balu, S. Kalyanaraman, and MLV were three of his illustrious disciples.

GNB also acted in several movies. Some of the noteworthy ones are Sakuntalai (paired with M. S. Subbulakshmi), Bhama Vijayam, and Sati Anasooya.

GNB is credited with inventing new ragas such as Chandrahasita, Sivasakthi, and Amrutabehag. Some ragas which were known to be the favorites of GNB are ThODi, KalyANi, KAmbhOji, and HindOLam. Some of the classic songs popularized by him include Vasudevayani (kalyANi), Sadinchane (Arabhi), HimagiritanayE (suddha danyAsi), Radha Sameta Krishna (Misra Yaman), and Jayati Jayati Bharata mAtA (kamAs).

Some of GNB’s compositions that are ever popular are: sadA pAlaya (mOhanam), ninnu pogaDa (kuntala varALi), and sAmagAna lOlE (hindOLam). Other Thamizh compositions include: en manattAmarai (rItigauLai), kanavilum kamala (srirnajani), kavalaiyellAm (sarasvati), pAda malirinaiyE (bEgaDa), and porumai izhandEn (simmEndra madhyamam).

References:                   


Some audio/video links:


Listen to Sudha Ragunathan here   

Listen to Sudha Ranjith here                        

Listen to BhushaNy KalyANrAman here        



Friday, August 26, 2016

Thamizh songs in carnatic music—18--- maRavEnE ennALilumE---மறவேனே என்னாளிலுமே

Thamizh songs in carnatic music—18

maRavEnE ennALilumE---மறவேனே என்னாளிலுமே

rAgam: paras (பரசு)   tALam: Adi (ஆதி)


Composer: “Kalki” Krishnamurthy (கல்கி கிருஷ்ணமுர்த்தி)


                                  

This song (besides other songs and script for the movie) was written by “Kalki” Krishnamurthy specifically for the movie “Meera” (1945) starring M S Subbulakshmi. She starred in the title role as the fictional (??) devotee of Krishna and sang most of the songs including “KATrinile varum geetham” (காற்றினிலே வரும் கீதம்) which is an evergreen song to this day. The full movie can be watched here.   The plot for the movie can be read here.

பல்லவி
மறவேனே என்னாளிலுமே கிரி தாரி உனதருளே கிரி தாரி உனதருளே 
சரணம்
நஞ்சை நீ உண்டனையோ இந்த-
பஞ்சையைக் காத்தனையோ ஒரு  
விஞ்சை புரிந்தனையோ                                                                                                
ஆரங்கள் சூடிடுவேன்-அலங்காரங்கள் செய்திடுவேன்
பல கீதங்கள் பாடிடுவேன் 

கஸ்தூரிப் பொட்டிடுவேன் மணித்தொட்டிலும்
ஆட்டிடுவேன்   பல நிஷ்டூரம் கூறிடுவேன் 
ஆடகப் பொற்சதங்கை இடை சூடி நீ ஆடி வர 
எனதாவி உருகிடுமே 

கண்ணா என் கண்மணியே முகில்வண்ணா எந்தன் துரையே 
உன்னைப்  பண்ணால் துதித்திடுவேன்
ஜய மீரா ப்ரபு கிரிதாரி ஜய மீரா ப்ரபு கிரிதாரி                                                     
ஜய மிரா ப்ரபு கிரிதாரி

Lyrics in Roman script: Courtesy of Lakshman Ragde

Pallavi: 
maRavEnE ennALilumE giri dhAri unadaruLE - giri dhAri unadaruLE 

CaraNam: 
nanjai nI uNDanaiyO inda-
panjaiyaik kAttanaiyO oru 
vinjai purindanaiyO   
                   
ArangaL sUDiDuvEn -alankArangaL seydiDuvEn-
pala gItangaL pADiDuvEn 
kastUrip poTTiDuvEn-maNit-toTTilum aTTiDuvEn-
pala niSTUram kURiDuvEn 

ADagap poRsadangai-iDai sUDi nI ADi vara-
enadAvi urugiDumE 
 kaNNA en kaNmaNiyE-mukilvaNNA endan duraiyE-
unnaip  paNNAl tudittiDuvEn
 jaya mIrA prabhu giridhAri jaya mIra prabhu giridhari
jaya mirA prabhu giridhAri

Meaning:
Pallavi:  I shall not forget forever your grace giridhAri (Krishna, who holds the mountain).

CaraNam: Did you eat the poison? Did you save this poor woman (me)? Did you do a magic art? I shall offer you garlands, I will decorate you well. I will sing you several songs. I will apply musk to your forehead. I will place you in a cradle and rock you. I will also tell you injustice done unto me. When you wear the golden waist ornament and come to me dancing, my mind melts. Oh KaNNA, with the hue of dark clouds, my lord I will worship you singing melodies. Victory to GiridhAri, the lord of MeerA!

Word meanings for some unusual words:
 Panjai = Ezhai (helpless person),    vinjai = magic art, mantra;    ADagam= gold;    sadangai = ornament made of a string of small bells;  niSTUram = injustice, harshness, severity, koDumai

General Comments: This song is sung following the attempt by the brother and sister of the king (MeerA's  husband) to poison her by providing a drink to her as a "prasAdam". MeerA drinks it and the sister realizing her connivance in the crime runs to her telling her that it is poison, to prevent her from drinking it. But MeerA finished the drink without any harm. Then she sings this song expressing her gratitude to Krishna for saving her. "nanjai nI uNDanaiyO"--"நஞ்சை நீ உண்டனையோ(did you drink the poison that was intended for me) and "இந்த பஞ்சையைக் காத்தனையோ" (intha panjaiyaik kAttanaiyO)---did you save this poor woman? are two crucial phrases covering the poisoning attempt.

Composer’s Bio:
R. Krishnamurthy (1899-1954), popularly known as ‘Kalki’ was born in Puttamangalam in Thanjavur district. He was a true-blooded patriot who joined the freedom struggle at Gandhi’s call. He left school to join the non-cooperation movement and went to prison three times during a span of 20 years. 

He had a natural talent for writing. He started writing for magazines in 1923, soon after coming from his first stay in prison. He was influenced by Rajaji, and Sadasivam (co-founder of Kalki magazine) in political and social beliefs and by Thiru Vi Ka on the literary front. His writings covered history, art, culture, society, and everything in between. He had a passion for Thamizh and Thamizh music in particular. He was one of the founders of the Thamizh isai movement in the 1940s.

He edited Ananda Vikatan, the Thamizh magazine founded by S. S. Vasan, for nine years and wrote several serial novels for the magazine in addition to short stories, and other feature articles. He started the magazine ‘Kalki’ in association with Sadasivam in 1941. He wrote several novels, short stories, music and dance reviews. His three historical novels, Parthibhan Kanavu, Sivakamiyin Sabhatham, and Ponniyin Selvan, are considered classics by many.

Several of his novels were made into movies: among them Thyaga Bhoomi and Parthibhan Kanavu are noteworthy.

Recently a book titled “amarar Kalki PADalgaL”, containing 35 of the songs written by Kalki was published. Song writing was the best kept secret of Kalki since he was more known for his novels and humorous articles than poetry. Many of his songs were popularized by the famous female trio Carnatic singers, MS, MLV, and DKP.

Some other Kalki’s songs that are quite popular are: tavamum palittadammA (featuring attainment of Indian independence), deivattamizh, kATRinilE varum gItam (sindhu bhairavi) http://periscope-narada.blogspot.com/2015/09/katrinile-varum-geetham.html vaNDADum sOlai tanilE (harikAmbhOji) http://periscope-narada.blogspot.com/2013/10/vandadum-solaitanile-padam-by-kalki-r.html and pUnkuyil kUvum pUncOlaiyil orunAL (kApi) http://periscope-narada.blogspot.com/2014/10/punkuyil-koovum-puncholaiyil-orunal.html

References:
1.http://www.hindu.com/2003/12/06/stories/2003120610100300.htm                                                  

Some audio and video links


   

Friday, August 19, 2016

Thamizh Songs in Carnatic Music—17-- குறை ஒன்றும் இல்லை --kuRai onRum illai

Thamizh Songs in Carnatic Music—17

குறை ஒன்றும் இல்லை --kuRai onRum illai

Composer: Chakravarthi Rajagopalachari (Rajaji)

rAgams: shivaranjani, kApi, & sindubhairavi



CompositionkuRai onRum illai
Composer:     cakravarti rAjagOpAlAcAri
mudrA:           none
(signature):   
rAgam:           rAgamAlikai (see below for each segment)

1. சிவரஞ்சனி
பல்லவி:           
குறை ஒன்றும் இல்லை மறைமூர்த்திக் கண்ணா
குறை ஒன்றும் இல்லை கண்ணா
குறை ஒன்றும் இல்லை கோவிந்தா
அனுபல்லவி:    
கண்ணுக்குத் தெரியாமல் நிற்கின்றாய் கண்ணா
கண்ணுக்குத் தெரியாமல் நின்றாலும் எனக்குக்                                               
குறை ஒன்றும் இல்லை மறைமூர்த்திக் கண்ணா
சரணம் 1:   
வேண்டியதைத் தந்திட வேங்கடேசன் என்றிருக்க
வேண்டியது வேறில்லை மறைமூர்த்திக் கண்ணா
மணீவண்ணா மலையப்பா கோவிந்தா கோவிந்தா

2காபி
சரணம் 2:    
திரையின்பின் நிற்கின்றாய் கண்ணா உன்னை                                            
 மறை ஓதும் ஞானியர் மட்டுமே காண்பார் என்றாலும்                                     
குறை ஒன்றும் எனக்கில்லை கண்ணா
சரம் 3:    
குன்றின் மேல் கல்லாகி நிற்கின்ற வரதா --குறை                                 
ஒன்றும் இல்லை மறைமூர்த்திக் கண்ணா
மணிவண்ண மலையப்பா கோவிந்தா கோவிந்தா

3. சிந்துபைரவி 
சரணம் 4:    
கலிநாளுக்கிரங்கி கல்லிலே இறங்கி
நிலையாகக் கோவிலில் நிற்கின்றாய் கேசவா
சரணம் 5:   
யாதும் மறுக்காத மலையப்பா உன் மார்பில்
ஏதும் தர நிற்கும் கருணைக் கடல் அன்னை                                                
என்றும் இருந்திட ஏது குறை எனக்கு
ஒன்றும் குறை இல்லை மறைமூர்த்திக் கண்ணா
 மணிவண்ணா மலையப்பா கோவிந்தா கோவிந்தா

Lyrics in Roman script

1. sivaranjani

Pallavi:           kuRai onRum illai maRaimUrttik kaNNA
                        kuRai onRum illai kaNNA
                        kuRai onRum illai gOvi^ndA

Anupallavi:    kaNNukkut teriyAmal niRkinRAy kaNNA
                        kaNNukkut teriyAmal ninRAlum enakkuk
                        kuRai onRum illai maRaimUrttik kaNNA


CaraNam 1:    vENDiyatait ta^ndiDA vEnkaTEsan enRirukka

                        vENDiyatu vERillai maRaimUrttik kaNNA
                        maNIvaNNA malaiyappA gOvi^ndA gOvi^ndA
2. kApi
CaraNam 2:    tiraiyinpin niRkinRAy kaNNA – unnai
                        maRai Odum gnAniyar maTTumE kANpAr
                        enRAlum kuRai onRum enakkillai kaNNA

CaraNam 3:    kunRin mEl kallAki niRkinRa varadA
                        kuRai onRum illai maRaimUrttik kaNNA
                        maNivaNNa malaiyappA gOvi^ndA gOvi^ndA

3. sindubhairavi

CaraNam 4:    kalinALukkirangi kallilE iRangi
                        nilaiyAkak kOvilil niRkinRAy kEsavA

CaraNam 5:    yAdum maRukkAda malaiyappA – un mArbil
                        Edum tara niRkum karuNaik kaDal annai
                        enRum irundiDa Edu kuRai enakku
                        onRum kuRai illai maRaimUrttik kaNNA
                        maNivaNNA malaiyappA gOvi^ndA gOvi^ndA


                                                                Meaning:

Pallavi:           I do not have any grievance Oh, KaNNa the vEdAs personified! I do not have any problem, kaNNA! I do not have any complaint, Oh, gOvindA!

Anupallavi:    You are invisible, Oh, kaNNA! But even when you remain invisible, I still do not have any complaint, Oh, kaNNA!

Caranam1:     When there is lord Venkatesan to give us what we want, we shall not want anything, Oh, kaNNA! maNivaNNa! malaiyappA! gOvindA!

Caranam2:     You are standing behind a screen, kaNNA! Only the wise men who are well-versed in vEdAs can “see” you. Still I do not have a problem (if I cannot see you).

Caranam3:     You are standing as a stone (idol) on the hilltop. I do not have any problem still.

Caranam4:     You have taken this stone-form recognizing this kaliyuga. You are permanently here in this temple.

Caranam5:     You do not refuse the request from your devotees. The ever-merciful goddess Lakshmi is residing in your chest. In that situation what deficiency can I have? I do not have any complaint, kannA, maNivaNNa, malaiyappA, gOvindA!

General Comments:
This song is unusual in several ways. First of all it is a rare composition by a person who is not a regular composer or a musician. Although Rajaji was a popular writer he was not recognized as a composer.  It is mentioned that he had some help in writing this song from his friend, M. P. Somasundararm (1921-1999), a Thamizh scholar . Secondly, unlike other devotional songs which lament the status of the composer and request the Lord to save them (authors) in this and the next life, this song does not lament nor request special favors. Instead, the song describes the gratitude and contented state of mind of the composer. The composer does not want anything. He just admires the everlasting grace of Lord Venkatesa of tirumalai hills.

Rajaji does not make any distinction here between Lord Venkatesa of Tirupati and the incarnation Krishna (known as kaNNAn in Thamizh). He uses the names interchangeably. He expresses only a common concept that the Lord, though present in the stone form, is taking care of the needs of the devotees. However, the concept comes out so crystal-clear when one hears the song. Perhaps it is the melody because there is no splendor of diction in this song. The words used are so commonplace and repetitive too.

Another distinctive feature of this song is that this was first sung by Bharat Ratna Smt. M. S. Subbulakshmi (MS). The song was set to music by Kadayanallur Venkataraman who has worked with MS for decades. It is now a highly popular song in the concert circuit. Almost every musician keeps it in his/her repertoire to be rendered either as a regular item towards the end or to be rendered at the request of the audience.
.
Composer’s Bio:
Rajaji (1878-1972) was born in Thorapalli in Salem district. He finished his B.A in Bangalore and obtained his law degree in Madras. He did not go to England to obtain a fancy degree. Perhaps he did not need that. He began his law practice in Salem and pretty soon became famous through brilliance of knowledge of law and speech.

He participated in the freedom movement and became one of the top leaders along with Gandhi and Nehru. Between himself and Nehru, the brain trust was formed. He became the governor-general of free India. He was Chief Minister of Madras state twice, once in 1937 and then in 1952. He had an impeccable record in administration, free of corruption and other misdemeanors.

He was a popular writer in Thamizh and English. He wrote 30 books covering history, philosophy, and religion. The two greatest works of his are: Ramayanam, and Mahabharatham. The English version of Mahabharatham is now used as textbook in a course on Oriental Studies in several American universities.

He was a good speaker and expressed his thoughts clearly to the ordinary man/woman. He was a true reformist in thought, word, and deed. He got his daughter Lakshmi married to Devadas, son of Gandhi. He introduced prohibition in Madras although the measure resulted in loss of revenue to the government. He also introduced compulsory education of Hindi in Madras.

In later life he differed with Nehru on policies for the nation and started a new party called “Swatantra Party” which emphasized private enterprise as opposed to government-run mega projects favored by Nehru. However, the party disappeared for lack of support after a decade of existence. It is an irony that his political philosophy of private enterprise is making a huge comeback now.

Audio and video links

Listen to/view M S Subbulakshmi here      
----another version here
A melodious rendition by (Latha Mangeshkar?)  here  
Sudha Ragunathan sings here
Bombay Jayashri sings here   
Nithyasri sings here
Priya Sisters sing here
K S Chitra sings here
The great-grand daughters of MS sing here
Bhushany Kalyanaraman sings here