Topic started by Narayanan on Thu Jan 13 07:51:54 .
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He is indeed one of the Greatest Composers in Music History. I am in a process of collecting and learning his works (trying to !!!). This page is for posting information about references to audio clips of Dikshitar krithis so that it will be of much use to Dikshitar "fans" like myself. |
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- From: Nadopasaka (@ adppp33.buffnet.net)
on: Tue Aug 22 13:02:40 EDT 2000
It is somewhat interesting that the word 'viSnu' does not appear in Tyagarajas krities, as far as I can tell. ( corrections welcome ) Hari, Govinda, Madhava, Garuda-dhwaja, vinata-suta vahana and others are used throughout. ( MD for e.g. uses this in SriSatyanarayanupasmaha, a ragamalika etc.)
where and what is this 'lander ??' citation ?
- From: Nadopasaka (@ afppp17.buffnet.net)
on: Tue Aug 22 13:16:15 EDT 2000
oops, a 'ViSnu-vAhana' in Sankarabharana - rupaka is attributed to Tyagaraja. stand corrected
- From: Rajani (@ 202.151.216.12)
on: Tue Aug 22 21:32:54 EDT 2000
Nado: "Vilayatu" and "VilayatAm" are two ways of conjugating the same verb, with identical meanings.
"pritiyukta cittam vilayatu mAm" would translate (word-by-word) as "love-filled mind may-immerse me", which I'm sure you'll agree is not OK. It is indeed "pritiyukta maccittam vilayatu". Ditto for the NGowla piece.
The Ahiri KNV, has ALL 8 vibhaktis in it and so the "rhyme" may not be there.
Panini: Thaiyal is a beautiful Tamil word for a young woman, a translation for "Bala" and so Thaiyal Nayaki=Bala Ambika ( note "thaiyale keladi" in "thaye Yashoda"). "Thailambal" is the colloquial (maruvu) for "Thaiyal-ambal" and became embellished that Ambal carries the "Thailam" when Swamy is the doctor(Vaidya)
- From: Nadopasaka (@ ahppp9.buffnet.net)
on: Tue Aug 22 22:52:21 EDT 2000
Rajani, Poetic license and 'musical' license are both significant for expressing idea, lilt/gait and gamaka in MD. The word 'engulf' is then more suitable for the interpretation, instead of 'immerse' as for e.g. in pralaya. Should be interesting how other musicians ( other than BMK render this ). I had some thoughts on raga mudras used by MD.
Very few composers have embedded the raga mudra like MD (maybe Jayachamaraja in a few ? ) . We have seen earlier how oblique these mudras can be e.g. begala-begada, ahantadi - jantodi ?, nayakam for darbar as male of nayaki !!, uma-rudra-darshitat-ardradeshi etc.
The missing Yadukula Kamboji mudra has been commented on before. It is suggested that this raaga may have been known as 'Eruk-Kaala kamboji' to the Dikshitar family, probably related to kathakali or maybe a pann. In this context it should be pointed out that the magnificent DiwakaraTanujam uses kaala-anjana, kaala-sahodara, kaala-chakra, kaala-danda. the other yadukula kamboji 'tyagaraja bhajare' uses , apart from the confusing 'nilotpalamba-anukula ' also kala-tram, and kaala-kaala-makhanda.
Given this raga mudra usage, it is logical to be interested in those MD krities where TWO or more raga names appear. for example Giticakrarathasthitayai in Kannada uses 'lokopakarayai nata bhairavadi ', Tyagarajadanyam in Darbar uses 'svatiriktas sahanatat' ; Sadashivamupasmahe in Shankarabharana cites also 'vanditapadambhoja' ; Vaamaanka sthitaya in Athana uses 'varadam sacapam camara' ; Ananta balakrishnam in Ishamanohari uses 'vanajamukhambuja'.
Admittedely a word such as Mohana ( or even kambuja ) , appears in several krities, not just all the Mohana krities.
However the appearance of nata bhairavi in a Kannada kriti etc. suggests some interesting possibilities. Clearly such usage must not have gone past MD without some consideration about the choice of the word.( when MD is pbviously at some pains to embed raga mudra)
Not the least of these possibilities is the chance of a kriti which may be rendered in more than one raga, set up deliberately by MD. Gajavadana of Pdasa has been remarkable in this regard but it is doubtful if this usage with multiple ragas for the same sahitya was the original intent.
The missing Asaveri mudra in MD might for example be elicited from 'Ekambresha naayike in 'karnataka suddha saveri' in which however we can also find 'sudhh- a saveri nutha nandhini'.
- From: narayanan (@ 194.193.249.33)
on: Wed Aug 23 03:44:37 EDT 2000
Rajani/nado:
There is another story about Balambika. The main deity in the sthalam is Vrigadeeswarar (Vrigodarar ?) and Vrigadeeswari is his consort. I think the name "Vrigadeeswara" is something to do with old age (somebody confirm this!). When one of the Nayanmars (i think it is Sundarar) was visiting this sthalam he refused to sing on a "kizhavan" (old man) and hence they installed "Balamba".
- From: Rajani (@ 202.151.216.76)
on: Wed Aug 23 04:01:59 EDT 2000
Narayanan-the sthalam you're referring to is "Vriddhachalam" - Thiru-mudu-kunram in Tamil,
names being "Vriddhanathar" and V.Nayaki where Sundarar refused to sing on the Kizhavi (who said Indians revere old age, everyone worships youth) and so She became Balambika.
- From: narayanan (@ 194.193.249.33)
on: Wed Aug 23 04:20:57 EDT 2000
Thanks Rajani.
- From: Ravi Kiran (@ 164.164.88.97)
on: Wed Aug 23 05:20:43 EDT 2000
the lyrics of balagopala are posted here:http://www.sangeetham.com/balagopal.htm
it contains this line in the charanam which i have not heard being sung:
vANIsArccita pItAmbaradhara vaijayantIvanamAlAdhara
any comments?
- From: narayanan (@ 194.193.249.33)
on: Wed Aug 23 06:55:19 EDT 2000
Ravikiran:
When DKP learnt this krithi from Ambi Dikshitar, the charanam had only 4 lines and 4 lines of Madhyamakala. Later it is said that they found a new manuscript which had 2 more lines. Ambi Dikshitar taught this later version to some others. The popular version is that of DKP's and
we dont get to hear the 6 line version very often.
- From: Nadopasaka (@ aappp46.buffnet.net)
on: Wed Aug 23 07:12:53 EDT 2000
Interesting story, Narayanan, Rajani, A few MD krities directly use 'dirgha-ayus'. One in fact sandwiches this between two Baalas ( gokarneswara )The most famous one is the Hariharaputram. Perhaps these sites are associated with some reverence for longevity. MD occasionally can get physical, cf. a few references to 'slim-waisted' Devis.
- From: narayanan (@ 194.193.249.33)
on: Wed Aug 23 11:23:56 EDT 2000
Nado:
Margasahayeswaram - Kasiramakriya also as a reference to "dIrgAuspradha".
- From: Nadopasaka (@ aeppp33.buffnet.net)
on: Wed Aug 23 11:50:19 EDT 2000
The haunting tune of the raaga Revati seems to have been bypassed by both MD and Tyg. in favor of the related Rasaali - aparadhamula and the somewhat obscure Bhanumati mela. It may have nothing to do with Reva-gup-ti.
- From: Ramaprasad K V (@ 204.154.176.49)
on: Wed Aug 23 14:34:04 EDT 2000
Nadopasaka :
The mudre in Ekamresha Nayike does not have
anything with asAvEri ! The mudre says
Shuddha sAvEri and the rAga IS shuddha sAvEri :-)
-Ramaprasad
- From: Nadopasaka (@ adppp12.buffnet.net)
on: Wed Aug 23 15:59:40 EDT 2000
That's right, its just a hypothesis, as I had pointed out.
aside from the 'Chandram' kriti idea , there is no real a-saveri pointer or mudra in MD.
- From: Nadopasaka (@ adppp23.buffnet.net)
on: Wed Aug 23 18:59:15 EDT 2000
MD and Peethas. Another aspect of 'abode or seat etc' distinct from 'ksetra' may be found in 'pitha' , cited a few times by MD. These seem to be [a] Metaphysical? narapithasthitam, hiranmaya peetastita, navaratna pithasthe
[b] Places? kamakoti pitha vasini , hemagiripitha sthitaya, kamagiripithadhivasini
[c] yogic ? yogapithadi, navacakra bindu pithavasini, panchashat peeta rupini , odyaana peetasthita , jalandhara pithayai ,
These two I am not so sure of
shripura svapithantare, dashara pithasthitam
- From: Nadopasaka (@ aippp33.buffnet.net)
on: Thu Aug 24 11:22:54 EDT 2000
MD's lyric extensively uses the formulation '-Adi' eg. saunak-Adi, harihay-Adi. implying for these and all others like these, etc. , or et al.
This aspect may not exist in the texts of ANY other vaaggeyakaara, comparable or otherwise.
- From: Nadopasaka (@ aappp12.buffnet.net)
on: Fri Aug 25 00:46:37 EDT 2000
just to clarify Naturally --adi does appear in a few krities of other composers, it is unavoidable, but MD uses it almost a 1000 times !
There are some generic words (not necessarily names) which MD uses only ONCE in all his krities. a few may be the following.
Ucchista - in Pantuvarali 'ucchista ganapatau', Sayankala - in Rudrapriya 'Shri tyagarajasya bhakto', Sandhya and Saptasvara - in Devakriya 'Sandhyadevim', Uddhuli - in the Chaturdasha ragamalika, Vainika Gayaka in Bhairavi 'balagopala',
Of course Muthukumara in Kalyani 'bhajare re citta '
bhaava raaga tala is used in a few other places
vinyaasam doesn’t appear :-)), but pallav-a and laya do
What is/are the 'jalli maddala jhar jhar vaadya' ?
- From: narayanan (@ 194.193.249.33)
on: Fri Aug 25 03:58:39 EDT 2000
Krithi of the week this week at http://dikshitar.homepage.com is
Thyagarajam Bhajare - Yadhukula Kambhoji - Sri M. D. Ramanathan
- From: K. Shyam (@ net245-151.its.yale.edu)
on: Fri Aug 25 11:27:08 EDT 2000
I just heard SSI sing chittaswaras for "Diwaakara tanujam". Are they part of the original composition?
- From: Nadopasaka (@ ahppp45.buffnet.net)
on: Fri Aug 25 12:43:03 EDT 2000
Chittaswaras don't appear in at least one MMI rendition of DiwaakaraTanujam. But this aspect may need to be checked via SSP or other texts.
Looking forward to Narayanans latest 'gift'. Can't thank him enough.
- From: narayanan (@ dyn0-190-ras56.screaming.net)
on: Fri Aug 25 16:13:09 EDT 2000
Nado:
:-) Thanks...
I thought of you while uploading this :-)
- From: narayanan (@ dyn0-190-ras56.screaming.net)
on: Fri Aug 25 16:17:04 EDT 2000
...that shd read "thought about you..."
- From: Nadopasaka (@ akppp11.buffnet.net)
on: Sat Aug 26 07:19:17 EDT 2000
The chapu taala flavor in this seems also to have permeated the NiniSevinchina kriti of SubbarayaShastri. Other than the SyamaSastri swarajati and these two there seem not to be too many krities of YadukulaKam. in Chapu. There are some similarities to the 'Etaa-vuna-ner-chiti' phrase in the opening Tyaa-ga-raa-jam.
- From: Nadopasaka (@ ahppp16.buffnet.net)
on: Sat Aug 26 23:40:44 EDT 2000
SubbarayaSastris NinuSevinchina also uses 'kanakangi sree rukmini hridayaabja' which may be compared to 'Yogiraaja hridayaabja' in the MD Tyagaraajam. There are also some more similarities, which reflect the fact that SubbarayaSastri may have been an apprentice of some sort , of MD.
The Neelaambari kriti on Neelaayatakshi seems to carry a 'reflective' metaphor. also bolstered by the 'bimbaadhari chita pratibimba'. And characteristically , Neelambari is the raaga used. Quite possibly also the 'universe' etc is mirrored in the great blue eye of the firmament. This reflection idea may also explain the repetitive use of words aakshi, bimbadhari, shankari, ambari, Asini thrives on the characteristic phrase of this raaga, which SSI has rendered beautifully ( of course with a few students accompanying )
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