Tag Archives: Sandeep Narayan

Rama Ni Samanamevaru

ScaleYesterday I listened to two concerts on YouTube. Now this is a more momentous occasion than the statement reflects. I don’t often get time to listen non-stop to music so this was special. As usual my life feels like a runaway train with me hanging by my fingernails! But I’ll leave my life be for the moment. As I said, I was listening to concerts of two young men whose music I enjoy. Both have excellent gurus. Both have glorious voices, a remarkable stage presence and styles which have the mark of their guru on them. Actually, I find myself listening more and more often to young artists nowadays. I enjoy their energy and verve, and if they stumble now and then, they have a lifetime to fix it so I don’t worry about it.

The first concert I heard was by Sandeep Narayan. Since hearing him do a fantastic Bhairavi during the season in 2016, I have been clicking on his concerts online. This was a nice concert; I particularly liked the order and mix of kritis chosen which is a skill in itself. His dwijavanti was pleasing, his take on chalanatta was interesting and the hamsanandi thillana at the end and karpagame to conclude were both quite lovely. The main item on the menu was a solidly performed pakkala nilabadi in Kharaharapriya.

Next I turned to Vignesh Ishwar. I haven’t had the pleasure of listening to him live but I have really enjoyed a number of his concerts online. I was happily nodding to his singing when the young man launched into Kharaharapriya and I thought ‘Hey, I can do a one-to-one comparison now, can’t I!’. Alapana done, the kriti taken up was ‘Rama Ni Samanamevaru‘ which made me laugh. Here I was all set to do a comparison and there was Tyagaraja with ‘There is none to compare with you Rama!’. I was happy to find a theme for my blog post – our tendency to make comparisons. The rest of the concert was good. The main piece was in Begada, not my favourite raga, but I still enjoyed it.

The kriti set me thinking about how very judgemental we human beings are. We are forever judging others on the things they say and do, on their achievements and failures, on their character and abilities and so on. It is rather non-stop, isn’t it! Or is it only I? I talk confidently on a collective when all I am sure of is myself! I love my children equally, or so I hope, but I confess to comparing them especially when one of them makes me sad. ‘He is so oblivious to my needs‘ I’ll say to myself , ‘She would never have left me like this‘.  Or ‘She is so sharp, are girls always this unkind? He is so much kinder‘.   Of course, we also compare people to themselves. ‘He was so much better in his previous film‘.  ‘Oh, she looked nicer in red than in green, didn’t she!‘. It is not always unkind or negative.  We may as easily say ‘Amma, this is the best rasam you have ever made!‘ Still, the comparisons are more often negative than positive. Is it just our need to categorise and put things in order? As a Carnatic Music fan, I am often critical of performances. Even while I am listening to one musician, I may well be racking my brain thinking of some other artist, some other occasion when I felt a turn of a phrase may have sounded better! What a waste of time! Instead of being in the moment and enjoying the pleasure of what falls into my ears, my mind is scrambling elsewhere! Is it a common failing or is it just me? Whatever the case, it is high time to stop it I think…

As Vignesh Ishwar inspired this post, let us first listen to him singing Rama Nee Samanamevaru in Kharaharapriya. Alapana starts at 16:12 and the kriti at 28:15. Dr Hemalatha on the violin sounds very good.

And for a second rendition, who other than T.M.Krishna, who is Vignesh Ishwar’s guru. Maybe you will, like me, enjoy noting the stylistic similarities passed from guru to shishya.

And for an instrumental, I present the very talented vainikas from my own home town of Melbourne, the Iyer Brothers. The recording is a bit tinny but it is still enjoyable. They are accompanied by their daughters. The sound of four Veenas synchronised has such a majestic quality!


Footnote : Lyrics

Language : Telugu
(Note: I do not speak Telugu; the details below are based on a number of online resources)

Sanskrit Transliteration :

पल्लवि
राम नी समानमॆवरु रघु वंशोद्धारक

अनुपल्लवि
भामा मरुवम्पु मॊलक भक्तियनु पञ्जरपु चिलुक

चरणम्
पलुकु पलुकुलकु तेनॆलॊलुकु माटलाडु
सोदरुलु गल हरि त्यागराज कुल विभूष मृदु सुभाष

English Transliteration :

pallavi
rAma nI samAnamevaru raghu vamshOddhAraka

anupallavi
bhAmA maruvampu molaka bhaktiyanu panjarapu chiluka

charaNam
paluku palukulaku tEneloluku mATalADu
sOdaralu gala hari tyAgarAja kula vibhUsha mRdu subhAsha

Translation :

Who (evaru) is equal (samAnamu) to you (nI), O Rama, the uplifter (uddhAraka) of the Raghu dynasty (vamsha)?

Like a parrot (chiluka) in a cage (panjarapu) of devotion (bhaktiyanu) of your wife (bhAma) who is as gentle (implied) as the shoot (molaka) of sweet marjoram (maruvampu). (Note: There seem to be a number of interpretations of this line – is it Sita who is like a parrot in the cage or is it Rama? Who is enslaved by devotion? The devotee or the devoted?)

You (implied) who have (gala) brothers (sOdaralu) who speak (mATalADu) like honey (tEne) drips (oluku) at each word (paluku palukulaku)!  You who youself (implied) are so gently well-spoken (mRudu subhAsha)!  O Hari (name of Vishnu), you are (implied) the ornament (vibhUsha) of Tyagaraja’s family (kula)!!

 

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Filed under Carnatic Music, Compositions in Telugu, Iyer Brothers, Sandeep Narayan, T.M.Krishna, Tyagaraja, Uncategorized, Vignesh Ishwar

Pollap Puliyinum

TigerToday I have a sad story to tell you..in fact, a horrific story. If you are new to my blog, you may wonder what horrific stories have to do with music? Me, I see life weaving into music and music weaving into life; if horrid things happen in life, I look for a reflection of that in music as well.

This is about a couple I know for many years now. They are what I would call social friends – people one meets rarely and mostly in the company of others, with whom you may share a drink, a meal, a conversation and a few good laughs. H (49) is Irish, G (46) from Kazakhstan. They have no children. Both of them have had good careers; they belong to the educated, well-to-do, well travelled society that career expats often enjoy.  H cooks well and has a lovely sense of humour. G always reminded me of a Russian doll- round-faced, placid, gentle. A few years back she was diagnosed with cancer. She was very ill for a while but recovered with treatment. I thought that was the great trauma of her life. I thought wrong.

On the 23rd of March, H picked up a knife and stabbed G more than 50 times. She must have tried to run and escape for there was blood all over their apartment, the apartment which was beautifully refurbished with great attention to detail and decorated tastefully and luxuriously. I remember their house-warming party, remember admiring their taste. It was in that apartment that G lay dead in a pool of blood and H lay unconscious beside her, having tried to kill himself with medication and alcohol. He recovered in a couple of days, confessing to the crime. All that the newspapers say is that the murder occurred after a domestic dispute.

How could I have known, I wonder, how could I have seen that there was this monster inside a man whose cooking I have enjoyed, whose jokes I have laughed at, whom I thought of as genial gentleman ? How could he possibly have picked up a knife and sunk it into the soft flesh of his wife of many years, not once, but more than 50 times? Surely she must have begged him to stop. Did he not hear her? What could she possibly have done which deserved this frenzied massacre ?

G is not the first to be attacked by the one who should have loved her most. The statistics on domestic violence is mind boggling. It is across countries, social status, educational levels, religions. Some shocking statistics here (source: United Nations website) :

  • In Australia, Canada, Israel, South Africa and the United States, 40 to 70 per cent of female murder victims were killed by their partners.
  • Several global surveys suggest that half of all women who die from homicide are killed by their current or former husbands or partners.
  • It is estimated that, worldwide, one in five women will become a victim of rape or attempted rape in her lifetime.
  • Women aged 15-44 are more at risk from rape and domestic violence than from cancer, car accidents, war and malaria, according to World Bank data.

I am sure that stats in India would be even more frightening. There is a BBC article here, but they talk of crimes reported. We all know that most crimes against women just goes unreported so these stats are way off the mark. In a survey of 9938 women in the late nineties, one in 4 women were either slapped, kicked, hit, beaten, threatened or raped within a year of the survey. Reasons include ‘not cooking properly’, ‘not attending household’, ‘talking to neighbours’….!!!!!!!

If you think this has nothing to do with you – look around you. Do you know four women in your family, mothers, sisters, cousins? One of them may well be abused. Do you know four men, friends, colleagues, relatives? One of them may be abusing his wife, his daughter, his girl-friend.

This touches us all.

This is criminal, cruel.

This is unjust in the eyes of man and God.

This must stop.

And so I come to my song choice of today. In this song Papanasam Sivan talks of himself as ‘a cruel man more wicked than a wicked tiger’. I do not  understand why he calls himself that, but his words were what I remembered when I heard of the rabid-animal like behaviour of H. He goes on to say ‘I will not kill the fury of lust and anger which rise within me’. Is not the lack of control of that fury which makes a man into an animal? The song has very strong lyrics, check the footnote if interested. Set to Mayamalavagowla, it sounds best when sung in a brisk pace. I present to you this very nice performance by Sandeep Narayan, accompanied by Mysore V.Srikanth on the violin and Neyveli B.Venkatesh on the Mridangam (I so admire him!).

 Alternate rendition : Click here


Footnote (Lyrics) :

Language : Tamil

பல்லவி
பொல்லாப் புலியினும் பொல்லாக் கொடியன் என்னை
புவிதனில் ஏன் படைத்தாய் சம்போ

அனுபல்லவி
நல்லோரைக் கனாவினாலும் நணுக மாட்டேன்
நல்லது சொன்னாலும் கேட்க மாட்டேன்

சரணம்
உன் நாமம் என் நாவாலும் சொல்ல மாட்டேன்
உள்ளெழும் காமக்ரோத மதம் கொல்ல மாட்டேன்
எந்நாளும்  மூவாசையை வெல்ல மாட்டேன்
என் ஐயன் உன் ஆலயத்துள் செல்ல மாட்டேன்

Transliteration

pollAp-puliyinum pollAk-koDiyan ennai
bhuvitanil En paDaittAi, shambhO

nallOraik-kanAvilum naNuga mATTEn
nalladu sonnAlum kETka mATTEn

un nAmam en nAvAlum solla mATTEn
uLLezhum kAma krOda madam koLLa mATTEn
ennALum mUvAsaiyai vella mATTEn
en aiyan un AlayattuL  sella mATTEn

Translation

O Lord Shiva (shambhO), why (En) did you create me (paDaittAy) in this world (bhuvitanil), a cruel man (koDiyan) more wicked (pollA) than a wicked tiger (pollA puliyinum)?

I will not approach (naNuga mATTEn) good people (nallOr) even in my dreams (kanavilum). Even if good things (nalladu) were told to me (sonnAlum), I will not listen (kETka mATTEn).

I will not utter (solla mATTEn) your name (un nAmam) even with my tongue (nAvAlum). I will not kill (kolla mATTEn) the fury/passion (madam) of lust (kAma) and anger (krOda) which rise within me (uLLezhum).  I will never (ennALum) subdue/win over (vella mATTEn) the three passions (mUvAsai) (these are மண்ணாசை பெண்ணாசை பொன்னாசை, the desire for land, for women, for gold). My master (aiyan), I will not go (sella mATTEn) into (uL) your temple (Alayam).

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Filed under Carnatic Music, Compositions in Tamil, Papanasam Sivan, Sandeep Narayan