Topic started by Nadopasaka (@ aippp30.buffnet.net) on Tue Mar 14 19:16:50 .
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Who are these 'unsung' accompanying artistes ? What ragas and/or krities typically appear ? Is the 'javali' or padam favored etc. |
Responses:
- From: Nadopasaka (@ aippp30.buffnet.net)
on: Tue Mar 14 19:33:43 EST 2000
I'll take a stab at this. I heard a Yadukula Kambhoji Pahi Rama sri rama yante, which had a powerful, visceral impact. Of course it describes the 'platonic' ideals of Bhadrachala Ramdas, but I could also see swaying hips and bejewelled feet. Seems like talam plays an important role. Dharmapuri subbarayar has some tremendously seductive compositions too.
I also remember a Ksetragna Mukhari, Ososi by Brinda/Mukta. These krities did not need further embellishment with 'flesh'. But together they seem like a potent combination.
- From: nandini (@ 1cust185.tnt9.charlotte.nc.da.uu.net)
on: Wed Mar 15 15:53:30 EST 2000
here are some padams & javalis...
Parullanna maata - kapi-Dharmapuri subbarayar
valapu thaala - atana - swathi tirunaal
smara sundaraanguni - paras - dharmapuri subbarayar
upamu gaane - yadhukula kambhoji - saarangapaani
praana sakutitu - chenchurutti - Dharma. subbarayar
evvade - sankharaabharanam - Kshetragnar
there are kaanada,mukhaari& saveri by Dharmapuri.
I've heard the paras&kapi ones very often.....the others are quite rarely heard.
- From: IR (@ columbo.lifeworks.com)
on: Wed Mar 15 16:35:31 EST 2000
you are absolutely right about you observation on padams/javalis nado....
>>>>""but I could also see swaying hips and bejewelled feet. Seems like talam plays an important role. Dharmapuri subbarayar has some tremendously seductive compositions too. <<<""
exactly why padams and javalis were composed... T. Brindha and T. Muktha (and T. Vishwa) are considered to be the authority in padams and javalis - They usually conduct workshops in Madras once in a while on padams and javalis and many musicians flock to learn these "Rasa" filled compositions from them. ::))
Padams are on nayaka-nayaki (Bhakthi and Shringara) themes usually. The tempo of these love songs is slow and meant to generate a mood of love. They are the most trying test of the calibre of the dancer in abhinaya. They are usually set in Rakthi ragas that are rich in emotional expression.
Javalis, on the other hand, are very catchy, lighter, faster and exquisite. The themes are usually love, pangs of separation, accusation of adultery, etc. They are usually set in the medium tempo. Padams also deal with romantic themes. They are usually in a stately slow-tempo. :::)))
The delineation in padam and Javalis requires a certain amount of technical maturity in the artist.
carnatic Musicians sing these as "Thukkada" pieces ::))
Lakshman could probably give us a list of some more of these besides the popular ones that nandini has mentioned :)
Challa ****lara in Sankarabharanam (Kshetragna)Madhe Avaravar Seidha Vanjanai in Bhairavi (Ghanam Krishna Iyer)
Bhamaro in Saveri (Kshetragnar)
Enge Irundhalum in Kambhoji (Subbarama Iyer)
are some more padams and javalis to nandini's list.
- From: Lakshman (@ hse-kit-ppp38768.sympatico.ca)
on: Wed Mar 15 19:11:26 EST 2000
Here are more javalis that are generallay heard in concerts.
Adi nipai marulu-Yamunakalyani-Madhyadi-Dharmapuri Subbaraya Iyer
Apaduruku lonaitune- Khamas-Madhyadi-Pattabhiramayya
Cheli nenetlu-Paraju-Adi-Pattabhiramayya
Ela radayane kamini-Bhairavi-Adi-Chinniah
Emandune muddu-Saindhavi-Adi-Dharmapuri Subbaraya Iyer
Itu sahasamulu-Saindhavi-Adi-Svati Tirunal
Mariyada teliyakane-Surati-Rupaka-Patnam Subramania Iyer
Marulu konnadira-Khamas-Adi-Poochi Iyengar
Mathura nagarilo-Anandabhairavi-Adi-Chittoor Subramania Pillai
Mavella kadamma-Mand-Adi-Chittoor Subramania Pillai
Modi jesevelara-Khamas-Pattabhiramayya
Ni matale mayanura-Purvikalyani-M/Laghu-Pattabhiramayya
Nirupamana sami- Behag-Rupaka-Poochi Iyengar
Sakhi prana-Chenuruti-Chapu-Dharmapuri Subbaraya Iyer
Saramaina matalanta-Behag-Rupaka-Svati Tirunal
Vagaladi bodanaku-Behag-Rupaka-Tirupati Narayanasvami
There is also a manipravala javali with the starting words O my lovely O my lovely in Kharaharapriya-Adi by Bangalore Chandrashekhariah.
- From: Nadopasaka (@ aappp44.buffnet.net)
on: Wed Mar 15 19:11:31 EST 2000
IsaiRasigai, It would be interesting to hear a dancer sing but may not be as much fun watching a singer dance.
The raagas of our heritage are like so many hills and mountains , from the hillocks and gentle slopes of Mohana and Mukhari to the majestic heights of Shankarabharanam and Bhairavi, each with their own valleys, meadows and hidden depths. Each time we scale a different peak in the great aural garden of the mind a new view is granted us, even with the wellworn Kalyani. A little off the beaten path but no less unique lie the yet unravished Hemavati and its prati-madhyama sisters.
In this context, I have often wondered about the raaga Todi. It seems like with most other raagas, the progression is up and down but Todi is sinuous, things seeming to go sideways, like imperceptibly graded S curves. Are there any Todi javalis ? What about Gaula ?
- From: IR (@ dialup-63.210.140.129.boston1.level3.net)
on: Wed Mar 15 20:24:56 EST 2000
::)) Nado - hats off to your stylish writing ::)) well said...
I am not aware of any Padams/Javalis in Goula - am not sure if Goula would be considered a Rakthi raga ::)
I remember having listened to a padam in Thodi but am not able to recollect - would post when I find out.
A few more padams/javalis from my collections :)
Bhamaro muvva gopala - Kedara Gowlai
Aligithe - Huseni
Samayamithe - Behag
Enthati kuluke - Kalyani
Era Thaku Nadara - Kedara Gowlai
Saami Ki Sari Evvare - Kedara Gowlai
Marubaari Thaalalenura - Khamas
Yaar Ummai pol aadarippavar - Ataana
Muttaraadhura Mohanaangi - Saaveri
EmaataLaadina - Yadukula Khambodi
Vaanipondhu Chaalu vardhane - Kaanadaa
Kaasiki Poyyene - Mukhari
Manchi Dinamunede - Anandha Bhairavi
Daari Jaachchu - Shankarabharanam
Vadhdhanine - Hindhuthani Kaapi
Paaripovalera _ Bhilahari
Emandu ne - Mukhari (lakshman has also listed this under Saindhavi)
- From: Lakshman (@ ppp7859.on.bellglobal.com)
on: Thu Mar 16 11:13:38 EST 2000
I found two javalis in Todi and one in Gaula.
Balimi eli balamani-Todi-Adi-Pattabhuiramayya
Mosa jesene vadu-Todi-Rupaka-Chinniah
Uri varemi nenantiga-Gaula-Adi-Dharamapuri Subbaraya Iyer
- From: Nadopasaka (@ aappp31.buffnet.net)
on: Thu Mar 16 12:00:20 EST 2000
Thanks Lakshman. There seem to be a good deal of 'avarthanams' ( I mean repetitive phrases ) in CM accompanying dance but no 'sangati' type variations. Can the voice fall into a rut with this ?
IR - If anyone tried Gaula, it had to be Dharmapuri S ? Does DS have any kriti which is not considered a Javali ? Was he a dancer or philanderer or perennially broken-hearted ?
- From: IR (@ dialup-63.210.140.110.boston1.level3.net)
on: Thu Mar 16 13:09:02 EST 2000
:::)) Nado >>>""" perennially broken-hearted ? """<<< :::))))
nado, I could not think of Gaula as a Rakthi raagam which is a prereq for composing a padam/javali :) But,as Lakshman has pointed out, looks like there is a jaavali in Gowla :)
I have no clue about DS :( except the fact that he has composed quite a few javalis :) May be Lakshman might know
- From: Lakshman (@ ppp2559.on.bellglobal.com)
on: Thu Mar 16 13:45:50 EST 2000
T shankarann, in one of his articles writes that DSI kept a notebook at his bedside near the pillow so that he cuold write down the javalis that sprang into his creative mind. Such was his devotion to music to the neglect of all other things. But DSi's wife is said to have fervently prayed to the diety at Tiruchengodu that her progeny should not take after their father! Apparently he composed only javalis . The famous Vina Dhanammal learnt some 60 javalis from him. He had high respect for the lady and it is evident in the javali Smara sundaranguni sari evvare.
- From: Nadopasaka (@ akppp40.buffnet.net)
on: Thu Mar 16 14:14:06 EST 2000
>> DSI kept a notebook at his Bedside near the pillow <<<
Might this have anything to do with the nature of javalis ??
Alternately his wife's prayers now appear meaningful as it looks like his mind was elsewhere ! This is a terrible analogy , forgive me, but I am trying to understand the 'seat' for DS's sensuous outpourings.
- From: Nadopasaka (@ akppp49.buffnet.net)
on: Thu Mar 16 22:39:31 EST 2000
IsaiRasigai I also heard 'Paaripovalaraa Neerajakshudu' in Bilahari by Brinda and was stricken. :)) I did not feel the same with Kanugontini.
There is an unhealthy gender balance in the vaggeyakaras. Correct me if I'm wrong but do the javalis also reflect this one-sidedness ? What are some of the padams that voice the nayaki's yearnings ?
- From: IR (@ dialup-63.210.136.195.boston1.level3.net)
on: Fri Mar 17 07:35:22 EST 2000
Nado - mission accomplished :::)) >>>"
IsaiRasigai I also heard 'Paaripovalaraa Neerajakshudu' in Bilahari by Brinda and was stricken. :))"<<< - this is exactly why padams and jaavalis are composed :)
>>"There is an unhealthy gender balance in the vaggeyakaras. Correct me if I'm wrong but do the javalis also reflect this one-sidedness ?" << This is a very interesting observation. When I looked back at the list of padams and jaavalis, it does seems to be dominated by male vaaggeyakaaras... I do not have an exhaustive list of padams and javalis and I am not sure if people like Neela Ramamurthy, Ambujam Krishna have composed P & D!! May be Lakshman could help us here :)
Emaatalaadina - Y.Khambodhi
Marubaari thaalalenura - Khamas
Manchi Dinamunede - A. Bhairavi
Aligite - Huseni
These are a few examples.. in addition to yearnings, it also portrays anger, frustration resulting from the same :::))) - wish I could compose one!!!!!!! - just kidding
- From: Nadopasaka (@ ahppp2.buffnet.net)
on: Fri Mar 17 11:44:29 EST 2000
IsaiRasigai
>>in addition to yearnings, it also portrays anger, frustration ...- wish I could compose one!!!<<
There are the makings of a padam here !
As Sherlock H pointed out 'Malingering is a subject on which I have often thought about writing a monograph'.
Did MSS, MLV, DKP sing any particular jaavalis (that you might know of ) ? How do the recent crop of female singers treat this style ?
- From: IR (@ dialup-63.210.136.127.boston1.level3.net)
on: Sat Mar 18 17:04:22 EST 2000
Nado:
I have heard MS sing Parulanna Maatta - can't recollect any other P/J by MS :)
MLV: Have heard: Apaduruku, Modi Jesevelara, Cheli Nenetlu, Saaramaina, Sakhi praana
DKP: Saamikku sari (KG), marubaari, Apaduruku, Vagalaadi, Sakhi Praana, Samayamithe
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