tyAgaraja's pancha ratna kRtis - 3
Suresh Kolichala
Also, I made modifications to follow rts convention for transliteration.
Any corrections are welcome.
Regards,
Suresh.
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3. saadhinchene'; o' manasa!
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/*
* Note :
* Using the following transliteration scheme defined by rts, which
* is the defacto standard in soc.culture.indian.telugu.
*
* a aa=A i I=ee=ii u U=oo R Ru e E=e' ai o O=o' au
*
* ka kha ga gha ~ma
* cha CHa ja jha ~na
* Ta Tha Da Dha Na
* ta tha da dha na
* pa pha ba bha ma
* ya ra la va Sa
* sha sa ha La
*
*/
pallavi: saadhinchene'; o' manasa!
anupallavi: bho'dhinchina sanmaarga vachanamula
bonku je'si taa baTTina paTTu ||saadhinchene'||
charaNamulu:
samayaaniki tagu maaTa laaDene ||samayaa||
1. de'vaki vasude'vula ne'ginchinaTu ||samayaa||
2. range'Sudu sadgangaa janakudu
sangeeta saampradaayakuDu ||samayaa||
3. go'pi jana mano'ratha mosanga le'kaye'
ge'liyu je'sevaaDu ||samayaa||
4. vanitala sadaa sokka je'yuchunu mrokka je'se';
paramaatmu Dadiyugaaka - yaSoda tanayuDanchu
mudambunanu muddu beTTa navvuchundu hari ||samayaa||
5. parama bhaktavatsaluDu suguNa
paaraavaarun Daajanma managhaDee kali -
baadala deerchuvaaDanuchu ne' hRdaam -
bujamuna joochuchunDaga ||samayaa||
6. hare' raamachandra! raghu kule'Sa!
mRdu subhaasha! Se'sha Sayana!
paranaaree so'da raaja viraaja turaga -
raaja raajanuta! niraamayaapa ghana
saraseeruha daLaaksha! yanuchu
ve'Dukonna nannu taa brovakanu ||samayaa||
7. Sree ve'nkate'Sa! suprakaaSa! sarvo'nnata! sajjana -
maanasa nike'tana! kanakaambaradhara! lasanmakuTa (lasat + makuTa)
kundala viraajita hare'! yanuchu ne' pogaDagaa
tyaagaraaja ge'yudu maanave'ndru
daina raamachandruDu ||samayaa||
charaNa she'shamu:
sadbhaktula nadata litlanene'
amarikagaa naa pooja gonene'
aluga vaddanene'
vimukhulato' je'ra bo'ku manene'
veta galigina taaLu kommanene'
damaSamaadi - sukhadaayakudagu Sree
tyaagaraaja nutudu chentaraakane' ||saadinchene'||
Mani Varadarajan
> pallavi: saadhinchene'; o' manasa!
Dr S.R. Janakiraman, whose lecture demonstration I attended
recently, emphatically asserted that the pallavi should be sung
as "saadhinchine" and not "saadhinchene". I am not versed in
^ ^
Telugu, so I cannot explain the difference in meaning, but he
explained that the meaning is quite different if sung otherwise.
Similarly,
> 1. de'vaki vasude'vula ne'ginchinaTu ||samayaa||
>
> 2. range'Sudu sadgangaa janakudu
> sangeeta saampradaayakuDu ||samayaa||
Dr Janakiraman asserted that instead of singing "samayaaniki"
after each charanam, the meaning is better suited if one goes
back to sing "saadhinchine" here, just as in the other
pancharatna kritis. He reserves "samayaaniki" for the portion
before the concluding charanam, i.e., "sadbhaktula".
Perhaps someone more knowledgable can enlighten us as to the
nuances of the sahityam.
Mani
Srini Pichumani
>>
>> pallavi: saadhinchene'; o' manasa!
>
>Dr S.R. Janakiraman, whose lecture demonstration I attended
>recently, emphatically asserted that the pallavi should be sung
>as "saadhinchine" and not "saadhinchene". I am not versed in
> ^ ^
>Telugu, so I cannot explain the difference in meaning, but he
>explained that the meaning is quite different if sung otherwise.
Mani, what SRJ mentioned in a couple of lec-dems around here was that
it should be "sAdhincenE" and not "sAdhincanE" - the former means
that "he accomplished <whatever>". SRJ stressed that the word endings
should be "anenE" not "anane" as in "sAdhincenE", "mATalADenE",
"naDataliTlanenE" etc...
>Dr Janakiraman asserted that instead of singing "samayaaniki"
>after each charanam, the meaning is better suited if one goes
>back to sing "saadhinchine" here, just as in the other
>pancharatna kritis. He reserves "samayaaniki" for the portion
>before the concluding charanam, i.e., "sadbhaktula".
Actually the verdict does not seem to be totally out on this. Either the
pallavi or the ettugaDa pallavi "samayAniki" serves well for some
charanams - SRJ himself clarified this point when pressed on this issue.
But what seems certain is that this line which serves as the ettugaDa pallavi
is an integral part of the last charanam; it is the first pAdam (feet) of the
quatrain
samayAniki tagu mATalAdenE
sadbhaktula naDataliTlanenE
amarikagA nA pUjakonenE
aluga vaddanenE
which takes up 4 cycles of Adi tAlam. The rest of the charanam also takes up
4 cycles.
-Srini.
Shiva Shivakumar
Lalgudi Trust has published the swaram/sahityam for Pancharatna kritis. In
the introduction, Lalgudi says the same thing : the phrase 'samayaniki
thagu maatalaadina' by itself doesn't read well and it is more appropriate
to sing the pallavi line after each charanam.
>
>Mani
Jagadisan Shivakumar
P J Narayanan
I am sure the pallavi is more suited after each of the swara-sAhityams
for its meaning, but its musical eduppu (at tArasthAyi sa) doesn't
suit as well as "samayAniki" (eduppu at panchamam). How does one solve
that without being jumpy?
Now that we are discussing sAdhinchene, I have heard people sing the
pallavi and anupallavi in slower 2-kaLa chowkkam, switching to orukaLa
for "samayAniki." The first person from whom I learned for a couple
of months, late C. H. Bhasker of Hyderabad, used to sing it this way.
U. Srinivas has released it commercially in 2-kaLa. Personally, I
think that sounds better. What is the deal here?
PJN
--
---
Robotics Institute, CMU p...@cs.cmu.edu
Pittsburgh, PA 15213
---
Vidyasankar Sundaresan
writes:
-
- I am sure the pallavi is more suited after each of the swara-sAhityams
- for its meaning, but its musical eduppu (at tArasthAyi sa) doesn't
- suit as well as "samayAniki" (eduppu at panchamam). How does one solve
- that without being jumpy?
Why, 'saadinchene' also starts at panchamam (first few sangatis)! It is
only after the last charanam that one has to start saadinchene at the
tArasthayi shadja. The way my teacher taught me this kriti is to have
'saadinchene' after each charanam. 'Samayaaniki' occurs after the charanam
'srivenkatesa', and immediately followed by 'sadbhaktula'. Srini's
explanation sounds very plausible.
BTW, different pAThantarams exist for the pancharatna kritis. Especially
in Saadinchene, the Tillaisthanam version has a very different order of
charanams.
Vidya
Thyagarajan Mohan
>for its meaning, but its musical eduppu (at tArasthAyi sa) doesn't
>suit as well as "samayAniki" (eduppu at panchamam). How does one solve
>that without being jumpy?
As Vidhyasankar pointed out,the first few sangatis of the pallavi
starts with pancamam.This is a very appropriate place for the eDuppu after
each svara sAhitayams.
However,IMHO,the gravity of this song lies at the `samyAniki tagu
mATalADinE!'St.tyAgarAja is said to have composed this in tiruppati after his
song `tera dIyada rAdhA?'.He was not very happy with the priests closing the
temple.He critizises this,indirectly,saying even the Lord has talked according
to the situations.This is emphasized in the renditions.This is what I learnt
from nIDamangalam Krishnamoorthy Bhaghavathar.Infact,he sang the whole piece
in one his musical discourses.
So,whether the pallavi eDuppu is apt or not doesn't matter much here.
>
>Now that we are discussing sAdhinchene, I have heard people sing the
>pallavi and anupallavi in slower 2-kaLa chowkkam, switching to orukaLa
>for "samayAniki."
It's not necessarily 2 kaLai and 1 kaLai.It may be in 2 and 1.5
(its tshram)like how varnam is usually rendered with pallavi and anupallavi
in 2 kaLai and caraNam in its tishram.
>PJN
MOHAN
--
Thyagarajan Mohan
tmo...@iastate.edu
Mohan Ayyar
>In article <CIv8FJ...@cs.cmu.edu> pj...@cs.cmu.edu (P J Narayanan) writes:
>>
>>
>>Now that we are discussing sAdhinchene, I have heard people sing the
>>pallavi and anupallavi in slower 2-kaLa chowkkam, switching to orukaLa
>>for "samayAniki."
>
> It's not necessarily 2 kaLai and 1 kaLai.It may be in 2 and 1.5
>(its tshram)like how varnam is usually rendered with pallavi and anupallavi
>in 2 kaLai and caraNam in its tishram.
>
(I have discussed the bits of the following with PJN and Mohan K. but
thought others may be interested also:)
M. D. Ramanthan has sung sAdhinchenE by starting off in 2nd kalai for the
pallavi and anupallavi. For the charanams he has used both 2nd and 1st
kalais - as people often render a charanam and chittai swaram for a
varnam.
As one could imagine, by singing this in two speeds, the shortest
pancharatna becomes a somewhat lenghthy item. MDR concludes with
several rounds of kalpana swaras.
Incidently he sings the charanams ending with "samayaniki".
People have often remarked that MDR would always make it a point to
sing a composition with particular reference to the meaning.
Although I am not knowledgeable on translations, but I have heard him
sing the following, starting "unconventionally" with
mahAnubhAvulu ... for Endaro ... (srI)
mridangatAlamu ... for sogasugA (srIranjani)
sannuthangasree ... marivere (shanmukhapriya)
Perhaps some others who are familiar with telugu and these krithis
can offer some explanation vis-avis the usual style and MDR's version.
The last example cited above sees the song commence with the second part
of the charanam. Of course, once completeing the "sannuthangasree
venkatesa ninnu ..." he returns to the pallavi and then the song
moves on as usual.
This also reminds me of Thyagaraja's ElanidayaradU in atAna where most
start off with balakanaka ... (ie. the anupallavi).
Mohan (Ayyar)