Category Archives: Chitti Babu

Endaro Mahanubhavulu

There are so many great ones! My salutations to them all ! To all those who experience the eternal bliss of seeing Him whose complexion is like the moon in the lotus of their hearts, salutations! To all the best amongst the blessed, whose hearts have become beautiful by being immersed in the singing of Sama Veda, salutations!

Tyagaraja

Humility : ‘the quality of having a modest or low view of one’s importance’. So says the dictionary.

I admit, I really struggled with this concept in my youth. ‘Why is it considered good?’ I would wonder. When we think less of others, it is belittling them – a decidedly negative thing. Why does it become noble just because it is applied to oneself? My argument was that  humility presupposes the existence of a superior quality. A person with no good qualities cannot be called humble. Then, if a person is unaware or downplaying this superior quality, they have either insufficient self-appraisal and self-valuation skills or they are pretending. Ergo, there is nothing admirable in humility!

It is only with maturity that I understood that humility is the only possible result of a true and rational appraisal of one’s qualities, of gaining perspective of one’s true place in the time and space continuum of the universe.

As an example, I can confidently say that I draw well; if you took a random sample, I might well fall within the top 10% for drawing skills. Humility is not being unaware of this quality or about pretending to be less than one is. It is in understanding that the distribution of skills is a bell curve; the top 0.1% is so sparsely populated that to get from being in the 90th percentile to the 99.9th percentile is improving my skills not by 9.9% but by an unquantifiable large ratio. It is also understanding that my skills as they stand are the result of influence from many artists before me, from cave painters to modern masters. It is to be grateful to the genes passed on to me. It is to be grateful to my mother and my teachers who encouraged me. It is to do with so many factors outside myself that humble is the only way to be! In fact I feel rather embarrassed even mentioning my drawing skills but I do want to illustrate my change of mind about the concept of humility so I will leave it in.

And so I come to my song choice of today which clearly demonstrates the humility of the great saint-poet-composer Tyagaraja, who is, I can say without hesitation, one of the most important figures in the musical history of India. Last week I listened to the music from the 167th Tyagaraja Aradhana and today I commemorate this event with this post.

There are so many great ones!’ he says in this song. ‘My salutations to all of them!’. Who all does he acknowledge? It is not a random salutation to all the greats in all spheres of life. Instead, it is a salutation to the those worthy of his salutation in his own sphere of greatness. By choosing to salute those who have excelled in his own strengths of music, devotion, spirituality and esoteric knowledge, it is clear to me that he was well aware of his own qualities.

For music, he salutes Narada, Tumburu, to those immersed in the singing of Sama Veda, to those who sing in praise of the Lord with raga and laya, those who do nama-sankirtana, and those who understand the happiness of listening to music with bhava-raga-laya.

For devotion and spirituality, he salutes those who see the Lord in meditation,  those who keep Him in their hearts, those who surrender to Him, those who view the world with love and compassion and those who have become true servants of the Lord.

For  esoteric knowledge he salutes the great sages and those who have understood the core knowledge of our great scriptures.

As to the composition, it is just a magnificent piece of music which one never tires of, however many times one hears it. Set to raga Sri, the sounds are dignified, contemplative, quiet. To know more about the raga, click here.

It is difficult to choose a rendition for you today. I have listened to so many renditions- voices old and young, male and female, brisk and meditative, stentorian and gently graceful, stylistic and straight-forward. To my ears today, what feels most ‘humble’ – my theme of the day – is T.M.Krishna’s simple rendition of this timeless kriti. Hope you enjoy it too!

You can download all the pancharatna kritis sung by TMK from this site.

For an instrumental version, I could not walk past this rare live video of the great Veena maestro from yesteryears, Chitti Babu. Is it not hypnotic? They say that Veena is the instrument best suited to display the beauty of Carnatic Music. What do you think?

For a more in-depth look at this kriti, listen to this interesting lecdem . The sound quality is unfortunately not so good but the content is excellent.

 


Footnote (Lyrics) :

Language : Telugu

As I am not a Telugu speaker. I am indebted to multiple web sources for meaning of words. I have reworded the translations I found for language and readability. For notation, click here.

Transliteration in Devanagari

पल्लवि
ऎन्दरो महानुभावुलु अन्दरिकि वन्दनमुलु

अनुपल्लवि
चन्दुरु वर्णुनि अन्द चन्दमुनु हृदया-
अरविन्दमुन जूचि ब्रह्मानन्दमनुभविन्चु वार-

चरणम् 1
साम गान लोल मनसिज  लावण्य धन्य मूर्धन्युल-

चरणम् 2
मानस वनचर वर सञ्चारमु निलिपि मूर्ति बागुग पॊगडने वार-

चरणम् 3
सरगुन पादमुलकु स्वान्तमनु सरोजमुनु समर्पणमु सेयु वार-

चरणम् 4
पतित पावनुडने परात्परुनि  गुरिञ्चि परमार्थमगु निज मार्ग-
मुतोनुपाडुचुनु सल्लापमुतो स्वर लयादि रागमुलु (alt:रागमुलनु ) तॆलियु वार-

चरणम् 5
हरि गुण मणिमय सरमुलु गळमुन शोभिल्लु भक्त कोटुलिललो
तॆलिवितो चॆलिमितो करुण गल्गि जगमॆल्लनु सुधा दृष्टिचे ब्रोचु वार-

चरणम् 6
हॊयलु मीर नडलु गल्गु सरसुनि सदा कनुल जूचुचुनु पुलक शरीरुलै
आनन्द पयोधि निमग्नुलै मुदम्बुननु यशमु गल वार-

चरणम् 7
परम भागवत मौनि वर शशि विभाकर सनक सनन्दना
दिगीश सुर किम्पुरुष कनक कशिपु सुत नारद तुम्बुरु
पवन सूनु बाल चन्द्र धर शुक सरोज भव भूसुर वरुलु
परम पावनुलु घनुलु शाश्वतुलु कमल भव सुखमु सदानुभवुलु गाक

चरणम्  8
नी मेनु नाम वैभवम्बुलनु नी पराक्रम धैर्यमुल
शान्त मानसमु नीवुलनु वचन सत्यमुनु रघुवर नीयॆड
सद्भक्तियु जनिञ्चकनु दुर्मतमुलनु कल्ल जेसिनट्टि नी
मदि नेरिङ्गि सन्तसम्बुननु गुण भजनानन्द कीर्तनमु सेयु वार-

चरणम्  9
भागवत रामायण गीतादि श्रुति शास्त्र पुराणपु
मर्ममुल शिवादि षण्मतमुल गूढमुलन मुप्पदि
मुक्कोटि सुरान्तरङ्गमुल भावम्बुल नॆरिंगि भाव राग लयादि सौख्य
-मुचे चिरायुवुल् गलिगि निरवधि सुखात्मुलै
त्यागराजाप्तुलैन वार-

चरणम्  10
प्रेम मुप्पिरिकॊनु वेळ नाममु दलचे वारु
राम भक्तुडैन त्यागराजनुतुनि निज दासुलैन वार

Transliteration

pallavi
endarO mahAnubhAvulu andariki vandanamulu

anupallavi
chanduru varNuni anda chandamunu hrdayA-
aravindamuna jUchi brahmAnandam anubhavinchu vAr-

charaNam 1
sAma gAna lOla manasija lAvaNya dhanya mUrdhanyul-

charaNam 2
mAnasa vanachara vara sanchAramu nilipi mUrti bAguga pogaDanE vAr-

charaNam 3
saraguna pAdamulaku svAntamanu sarOjamunu samarpaNamu sEyu vAr-

charaNam 4
patita pAvanuDanE parAtparuni gurinchi paramArthamagu nija
mArgamutOnupADuchunu sallApamutO svara layAdi rAgamulu (alt:rAgamulanu) teliyu vAr-

charaNam 5
hari guNa maNimaya saramulu gaLamuna shObhillu bhakta kOTulilalO
telivitO chelimitO karuNa galgi jagamellanu sudhA dRshTichE brOchu vAr-

charaNam 6
hoyalu mIra naDalu galgu sarasuni sadA kanula jUchuchunu pulaka sharIrulai
Ananda payOdhi nimagnulai mudambunanu yashamu gala vAr-

charaNam 7
parama bhAgavata mauni vara shashi vibhAkara sanaka sanandanA
digIsha sura kimpurusha kanaka kashipu suta nArada tumburu
pavana sUnu bAla chandra dhara shuka sarOja bhava bhUsura varulu
parama pAvanulu ghanulu shAshvatulu kamala bhava sukhamu sadAnubhavulu gAka

charaNam 8
nI mEnu nAma vaibhavambulanu nI parAkrama dhairyamula shAnta mAnasamu nIvulanu vachana satyamunu raghuvara nIyeDa
sadbhaktiyu janinchakanu durmatamulanu kalla jEsinaTTi nI madineringi santatambunanu guNa bhajanAnanda kIrtanamu sEyu vAr-

charaNam 9
bhAgavata rAmAyaNa gItAdi shruti shAstra purAnamu marmamula shivAdi shanmatamula gUDhamulan muppadi mukkOTi surAntarangamula bhAvambula nerigi bhava rAga layAdi saukhya
muchE chirAyuvul galigi niravadhi sukhAtmulai tyAgarAjAptulai na vAr-

charaNam 10
prEma muppiri konu vELa nAmamu dalachEvAru
rAma bhaktuDaina tyAgarAjanutuni nija dAsulaina vAr-

Translation

pallavi
There are so many great ones! My salutations to them all !

anupallavi
To all those who experience the eternal bliss of seeing Him whose complexion is like the moon in the lotus of their hearts (salutations..)

charaNam 1
To all the best amongst the blessed, whose hearts have become beautiful by being immersed in the singing of Sama Veda (salutation..)

charaNam 2
To all those who clearly see the form of the Lord by stopping the monkey like wanderings of the mind (salutations…)

charaNam 3
To all those who immediately surrender the lotus of their hearts at the feet of the Lord (salutations…)

charaNam 4
To all those who, cognizant of the true path which leads to the ultimate knowledge,  joyously sing about the supreme Lord who sanctifies the wretched, in ragas which arise from the seven notes and rhythm (salutations..)

charaNam 5
To all those countless devotees whose necks are adorned with the precious garland of divine qualities, who protect the world with their sweet glances filled with understanding, love and compassion (salutations..)

charaNam 6
To all those who are famous for remaining joyfully immersed in the ocean of bliss and ecstacy by always seeing with their (mind’s) eyes the beautiful Lord with his charming gait (salutations…)

charaNam 7
To all the great sages who are devotees of the Lord, to the Moon, the Sun, sage Sanaka, sage Sanandana, the Lords of the four quarters, the celestials, the kimpurusha, to Hiranyakashipu’s son Prahlada,  to Narada, the celestial musician Tumburu, to Hanuman, to Lord Shiva, sage Suka, Lord Brahma, the Brahmanas, the great holy ones, the eminent ones, the eternal ones, to all those who have experienced bliss (salutations..)

charaNam 8
To all those who, knowing your disaproval of wrong paths, in order to generate true devotion towards you, always sing joyful chants in your praise,  about the glory of your body, your name, your valour, your courage, your fortitude, your serenity of mind and the truth of the words uttered by you (salutations..)

charaNam 9
To all those benefactors of Tyagaraja who understand the core of (the hidden meaning of) Bhagavatam, Ramayanam, Gita, the Vedas, the Shastras, the ancient lores, the six schools of religious worship like Shaivism, the mindset of  thirty three crores of celestials, the happiness of (implied:music) with emotion, melody and rhythm, and have attained a long life of uninterrupted joy (salutations..)

charaNam 10
To all those who meditate on the name of the Lord at the time when love multiplies and have become true servants of the Lord praised by this Tygaraja, a true devotee of Lord Rama (salutations…)

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Filed under Carnatic Music, Chitti Babu, Compositions in Telugu, T.M.Krishna

Adamodi Galade

Is it just, O Lord Rama, this whim of yours in not talking to me when I have held your feet with such devotion? O Merciful Lord! Is it not true that when the erudite Anjaneya saluted you, you asked your younger brother to convey the details to him? However, is this fair, this whim of yours in not replying to this Tyagaraja?

HanumanMost of us who have grown up in India have a special place in our hearts for the epic Ramayana. Our behaviour, our beliefs, our language – all this and more are influenced by this great epic. However, if we are asked if Ramayana is myth or history, if it is legend or reality, many amongst us will be conflicted. I am. My heart believes, but my mind questions many of the incredible occurrences. I try and add my own reasoning (totally unproven!) to make it real, for I want it to be real.

Take, for example, Lord Hanuman and the legions of Vanaras (apes) who have a starring role in Ramayana. ‘Talking apes? Really?’ My mind asks me. Given my beliefs, I feel both guilt and shame for asking such questions and then hasten to counter-ask myself ‘What if some Neanderthal men were still around at that time? Would they have been seen as another species i.e. as apes?’.  The dates don’t fit, but what if?

Evidently, I am not the only one who wants to find logic to fit the legends. I-Serve, the Institute of Scientific Research on Vedas seems to be populated by exactly the same kind of people. They were much in the news last year when they used astronomical dating of planetary positions mentioned in the Ramayana to get dates for some important events. Lord Rama’s birthdate was 10 January, 5114 BC, they say with authority. Their paper is an interesting read for anyone interested in the Ramayana.

So when I came to the topic of today, the first meeting of Lord Hanuman with Lord Rama, I see it in my mind’s eye as a somewhat mythical history, but history nonetheless. Before we come to Sarga 3 of the Kishkinda Kanda of the Ramayana, Sita is already taken. Rama and Lakshmana are on her trail. Dressed simply like hermits, they still have the appearance of princes. It is at this time that Hanuman is sent as a messenger seeking help from them by Sugreeva, the younger brother of Vali, the Vanara ruler of the region, who has now become Sugreeva’s enemy.

Dressing himself as an ascetic in order not to alarm then, Hanuman approaches them. His speech is full of praise, as seems to be the polite form of address in those times, before introducing himself. Rama is well pleased with his greeting. Turning to Lakshmana, he praises Hanuman’s knowledge of grammar and the Vedas. But he does not speak directly to Hanuman, letting Lakshmana be his spokesperson. This is believed to be the protocol of those times in dealing with messengers. For the verses and the translation, read here.

Tyagaraja uses this incident in our song choice of today, Adamodi Galade, set to the charming Charukesi raga (to know more about this raga, click here). Tyagaraja asks Lord Rama if it is fair that he persists in his whim of not speaking to him and reminds him that it was thus with even Hanuman, that the Lord did not reply directly to him when spoken to. Does Tyagaraja imply that if the Lord would not speak to Hanuman himself, what chance did he have? Does he see himself as a loyal servitor of Lord Rama, just as Hanuman was and thus worthy of his love? He does seem to berate the Lord, calling him whimsical! For lyrics and translation, see footnote.

To present this song, I am in the mood for some legends today. To start with, I present a rare live presentation from the musician whose Charukesi I love better than anything else, the inimitable Lalgudi Jayaraman (1930-2013).

And for a vocal version, I can present no other than the Maestro with a voice like nectar, Dr.Balamuralikrishna (1930-). He was a man who pushed the boundaries of tradition in his time and is a living legend now.

Alternate link : in Sangeethapriya, accessible with a free account.

Next I would like to recommend a very interesting interpretation by the great Veena player, Chitti Babu (1936-1996). I was surprised to note the Vedic hymn style notes produced in the alapana and in the thanam as well, something I associate with Revati, not Charukesi. It ends abruptly, but still do listen, this raga sounds particularly beautiful on the Veena.

Alternate link : In Sangeethapriya, accessible with a free account.

 


Footnote (Lyrics) :

Language : Telugu
I do not speak Telugu and have sourced the lyrics and translation from various internet sources, especially
Tyagaraja Vaibhavam. This I have calibrated against multiple performances and modified as seemed fit.

पल्लवि
आड मोडि गलदा (alternate: गलदे) रामय्य माट(लाड मोडि )

अनुपल्लवि
तोडु नीड नीवे अनुचुनु (alt: यनुचुनु) भक्तितो गूडि (नी)
पादमु (alt: पादमुल) पट्टिन नातो माट(लाड मोडि )

चरणं
चदुवुलन्नि तॆलिसि शंकरांशुडै
सदयुडाशुग सम्भवुडु म्रॊक्क
कदलु तम्मुनि पल्क जेसितिवि
गाकनु त्यागराजु आडिन माट(लाड मोडि )

Transliteration

pallavi
ADa mODi galadA (alt: galadE) rAmayya mATa (lADa mODi)

anupallavi
tODu nIDa nIvE anuchunu (Alt: yanuchunu) bhaktito
gUDi (nI) pAdamu (pAdamula) paTTina nAtO mATa (lADa mODi)

charanam
chaduvulanni telisi shankarAnshuDai
sadayuDAshuga sambhavuDu mrokka
kadalu tammuni palka jEsitivi
gAkanu tyAgarAju ADina mATa (lADa mODi)

Translation
Is it just, O Lord Rama, this whim of yours in not talking to me? (Note: mODi has been translated as obstinacy, haughtiness etc. but I liked whimsical which is also a valid translation by the dictionary. You take your pick!)

Is it just, O Lord Rama, this whim of not talking to me who considers you alone to be as constant as a shadow, when I have held your feet with so much devotion?

O Merciful Lord! Is it not true that when the erudite Anjaneya, born of the Wind God, who is also an aspect of Lord Shiva, saluted you, you asked your younger brother to convey the details to him? However, is this whim of yours in not replying to this Tyagaraja just?

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Filed under Carnatic Music, Chitti Babu, Compositions in Telugu, Lalgudi Jayaraman, M.Balamuralikrishna, Tyagaraja