Vani Jairam singing 'Aanathineeyara hara'
Ajit
the K V Mahadevan - Vani Jairam combination, from the Telugu film
Swathikiranam. This song brought Vani Jairam her third National Award.
The song is a shiva-stuti and amply displays Vani Jairam's awesome
vocal range and breath control. Just listen to those high-pitched
hairpin bends all over the song, and give a listen to the most amazing
part of the song - the last 30 seconds! Those last 30 seconds seem so
ingeniously conceived.
Source:
http://www.tfmpage.com/forum/24510.6859.02.29.28.html
Audio:
http://www.musicindiaonline.com/music/l/XY00000I0N
==============================================================================
From: Kaumudi (@ 136.142.153.250) on: Tue Oct 22 12:59:29 EDT 2002
This song is set as a stage performance in the movie where in this
child prodigy (Manjunath) sings this songs with great confidence and
command over music in front of the arrogant, very famous Carnatic
musician (Mammooty) and a huge audience. This musician is this child
prodigy's guru who is supposed to teach him the basics in carnatic
music. But he quickly realizes that this kid is no ordinary kid. He is
a born genius in that he grasps and learns carnatic music like a
sponge. The kid also outsmarts him by composing his own tunes to some
famous literary works. Mammooty feels horrible about this whole
situation and feels that the kid is trying to override his popularity
and he has to save it somehow from going down the drain. He becomes
extremely arrogant and decides to get rid of the kid!
This song is one of those scenarios where on one hand everyone is
praising the child for his knowledge, on the other hand, Mammooty is
extremely jealous about him and cannot bring himself to applaud him in
a katcheri.
Mammooty as the arrogant musician, Manjunath as the child prodigy and
Radhika as the devoted wife of Mammooty (she herself a musician in the
movie) play the whole drama powerfully. Hats off to their acting in
the movie.
This song is in Amruthavarshini ragam and set to Adi talam - an indeed
wonderful rendition by VJ. Just take a listen at those high-pitched
passages where she touches the pa of the higher octaves so easily. Her
voice suited Manjunath almost perfectly (BTW, Chitra sings for
Radhika). The song starts with a beautiful exploration in the ragam.
Although short, it gives enough information about how the song is
going be - A very energetic, enthusiastic one. This was a favorite
among singers in various college and school level competitions.
Let us get to the song now. Bottomline of the song is praising Lord
Shiva and saying the world runs because of Him.
Aanathineeyara Hara
Sannuthi saeyagaa sammathineeyara dora
Sannidhi chaeragaa
"O Lord Shiva, please give me your permission to sing praises of you,
please let me, O Lord, to reach your proximity (sannidhi)."
Nee aana laenidae rachimpasaaguna
Vedaala vaanitho Virinchi viswanaatakam
Nee saiga kaanidae jagaana saaguna
Aa yoga maayatho Muraari divyapalanam
"Will (and can) Lord Brahma (Virinchi) along with his consort
Saraswathi (Vaani) author this drama that we humans play everyday in
our lives and do his creation without your permission? Will (and can)
Lord Vishnu (Muraari) along with his consort Lakshmi (Yoga maaya)
preserve and rule this world in peace without that "green signal" from
you?"
Vasumathilo prathikshanam Pasupathini adheenamai
Kadulunugaa sadaa Sadaasiva
"O Lord Shiva (Pasupathi, Sadasiva), everything that happens every
single moment on this earth is under your control, always!"
-----Swaram------
Achalanaadha archintunura
"O Lord of the mountains, I pray to you."
-----Swaram-----
Jangamadevara sevalugonaraa
Mangaladaayaka deevenalidaraa
Saashtangamuna dandamu saethuraa
"O Lord of the sentient beings (Jangama = animated, conscious, with
life), please accept my service and offerings and please bless all of
us with boons to lead an sacred life. Please accept my "sashtaanga
namaskarams" (doing namaskaram to god lying on one's belly with the
whole body touching the ground)."
-----Swaram-----
Sankara sankinchakuraa
Vanka jaabilini jadanu muduchukoni
Vishapu naagulanu chankanetthukoni
"O Shiva, please don't doubt my bhakthi towards you. With the crescent
moon on your plaited/folded hair, with the poisoned snake around your
neck…"
Nilakadanu erugani ganganaeli
Ae vankalaeni aa vankanokka
Kadaganti choopu padaniyyavenini
Kinkarunika saevinchukondu raa
"…and with the ever-fickle Ganga tightly bound in your hair, there is
no trace of imperfection in you. I, as your devotee, am desperate for
your grace to fall upon me."
-------Swaram--------
Rakshaad vara sikshaa deeksha dakshaa
Viroopaksha nee krupaa veekshana aapaekshitha
Pratheekshanu upeksha saeyaka pareeksha saeyaka
Raksha raksha anu praarthana vinaraa
[Please note the "alankaram" (telugu grammar: decoration/ornament to
the poem) the poet has used a regular repetition of the letter "ksha"
(as in LaKSHmi)]
"O Lord Shiva, the one who protects the good and punishes the evil, I
desire only one thing, your mercy. I have been and am waiting for just
that. Please don't delay, please don't test me, please hear my prayers
asking you to save my life."
This song is just a phenomenon, in every aspect. The music by KVM,
lyrics by "Sirivennela Seetharaamasastry" (who is one of my favorites)
and finally the inimitable rendition by VJ – sums up to a great song
to be remembered as one of the masterpieces in TeFM in recent times.
Srinivas Ganti
> "Ajit" <musicad...@yahoo.com> wrote in message
news:c9042caa.0404...@posting.google.com...
> Here is an article describing (and translating) this masterpiece by
> the K V Mahadevan - Vani Jairam combination, from the Telugu film
> Swathikiranam. This song brought Vani Jairam her third National Award.
>
> The song is a shiva-stuti and amply displays Vani Jairam's awesome
> vocal range and breath control. Just listen to those high-pitched
> hairpin bends all over the song, and give a listen to the most amazing
> part of the song - the last 30 seconds! Those last 30 seconds seem so
> ingeniously conceived.
Thanks for reminding me of this lovely song. KVM continuws to enthrall
audience with his music till his very end.
btw the lyricist Sitarama Sastry became Sirivennela Sitarama Sastry
after his the mega success of his debut movie Sirivennela, which also
had spell binding music by KVM.
sg.
Srinivas Ganti
"Srinivas Ganti" wrote:
> btw the lyricist Sitarama Sastry became Sirivennela Sitarama Sastry
> after his the mega success of his debut movie Sirivennela, which also
> had spell binding music by KVM.
Just a couple of notes about Siri Vennela.
Its the story of a mute lady Subhasini (played by Suhasini) and a blind guy
Hari Prasad (played by Sarvadaman Banerjee). Pt. Hari Prasad Chaurasia
played the flute for some of the songs.
My favourite is the last one at
http://www.musicindiaonline.com/music/l/XY00000I0H
sg.
Sumantra Dutta Roy
> Hari Prasad (played by Sarvadaman Banerjee). Pt. Hari Prasad Chaurasia
Is this the same actor who played the lead role in Swami Vivekananda(1998?)?
With warm regards,
Sumantra.
Srinivas Ganti
"Sumantra Dutta Roy" <suma...@ee.iitb.ac.in> wrote in message
news:43e4018a.04042...@posting.google.com...
Yes he is the same actor. Siri Vennela was about a decade before Swami
Vivekananda.
sg.
UVR
Ajit wrote:
>
> Audio:
> http://www.musicindiaonline.com/music/l/XY00000I0N
Thanks for 'trans-posting' this article from the TFMPage and
reminding me of this song. The songs of SwatiKiranam were
overwhelmingly popular when they were released. Too much of
a good thing can definitely be bad: I remember my uncles and
cousins used to play these songs so much that, eventually,
the cassette wore out ... and so did I :)
> From: Kaumudi (@ 136.142.153.250) on: Tue Oct 22 12:59:29 EDT 2002
Thanks to Kaumudi for the beautiful translation. I have
just a few points to add to the terrific write-up (and
> This song is in Amruthavarshini ragam and set to Adi talam
Not Adi, actually. It's set to the "(chaturasra) Eka taaLam."
For those interested, this tala looks like the first half of
the Adi taaLam. The 'carnatechnically' savvy ;) amongst us
will recognize this as a single (Eka) quaternary (chaturasra)
'laghu', which is where the tala gets its name.
And, while we're at it, here's something for the even more
technically inclined: it's not just any old Eka tala. KVM
uses an unconventional (for Eka tala) "3/4 anaagata eDuppu"
(the song begins 3/4 laghu after the samam). Fascinating.
> This was a favorite
> among singers in various college and school level competitions.
Yes, including some who had the wrong idea about their
vocal "skills."
> Let us get to the song now. Bottomline of the song is praising Lord
> Shiva and saying the world runs because of Him.
Structurally, this song adheres (as strictly as a film song
can) to the format of a type of Carnatic music composition
called the "swarajati". Swarajatis are most commonly heard
accompanying Bharatanatyam/Kuchipudi dance recitals; the
lyric is traditionally of the 'shR^ingaara rasa', but there
are numerous exceptions. Again, for the technically inclined,
the structure of a swarajati is simply this: two sets of
saahitya (= word) stanzas, called the pallavi and anupallavi,
followed by several sets of matching "swara (=sargam) plus
saahitya", each called a "charaNa[m]".
So, this is the Pallavi:
> Aanathineeyara Hara
> Sannuthi saeyagaa sammathineeyara dora
> Sannidhi chaeragaa
[Vani sings this as "sannidhi *jEragaa*", which is correct.
(cha --> ja due to sandhi). The meaning is not affected.]
> "O Lord Shiva, please give me your permission to sing praises of you,
> please let me, O Lord, to reach your proximity (sannidhi)."
And this (all the way down till the first "--swaram--") is
the Anupallavi:
> Nee aana laenidae rachimpasaaguna
[rachimpa *jaalunaa*. Again, no change in the meaning.]
> Vedaala vaanitho Virinchi viswanaatakam
> Nee saiga kaanidae jagaana saaguna
> Aa yoga maayatho Muraari divyapalanam
>
> "Will (and can) Lord Brahma (Virinchi) along with his consort
> Saraswathi (Vaani) author this drama that we humans play everyday in
> our lives and do his creation without your permission? Will (and can)
> Lord Vishnu (Muraari) along with his consort Lakshmi (Yoga maaya)
> preserve and rule this world in peace without that "green signal" from
> you?"
>
> Vasumathilo prathikshanam Pasupathini adheenamai
> Kadulunugaa sadaa Sadaasiva
>
> "O Lord Shiva (Pasupathi, Sadasiva), everything that happens every
> single moment on this earth is under your control, always!"
The various charaNa[m]-s begin here. The thing of note is
that the tune of each swara pattern matches that of the lyric
that immediately follows it. Thus, below, where Vani sings:
N N S' N P N, P m | g S G, ... aanatineeyaraa
> -----Swaram------
she is enunciating the sargam corresponding to the words
> Achalanaadha archintunura
>
> "O Lord of the mountains, I pray to you."
This swara-to-sahitya correspondence is a characteristic
of the swarajati. In the film song, this continues all
the way until, near the end, one gets to the final flurry
of swaras (with the voice-plus-percussion interplay). It
becomes a bit filmi at this point, because KVM has Vani
skip over the notation of the last charaNam.
> -----Swaram-----
> Jangamadevara sevalugonaraa
> Mangaladaayaka deevenalidaraa
> Saashtangamuna dandamu saethuraa
[saaShTaangamu*ga* ... sEturaa. No change in meaning.]
> "O Lord of the sentient beings (Jangama = animated, conscious, with
> life), please accept my service and offerings and please bless all of
> us with boons to lead an sacred life. Please accept my "sashtaanga
> namaskarams".
>
> -----Swaram-----
> Sankara sankinchakuraa
> Vanka jaabilini jadanu muduchukoni
> Vishapu naagulanu chankanetthukoni
>
> "O Shiva, please don't doubt my bhakthi towards you. With the crescent
> moon on your plaited/folded hair, with the poisoned snake around your
> neck…"
>
> Nilakadanu erugani ganganaeli
> Ae vankalaeni aa vankanokka
> Kadaganti choopu padaniyyavenini
> Kinkarunika saevinchukondu raa
[ki.nkaru*D*ika sEvi.nchuko.ndu raa.]
> "…and with the ever-fickle Ganga tightly bound in your hair, there is
> no trace of imperfection in you. I, as your devotee, am desperate for
> your grace to fall upon me."
>
> -------Swaram--------
> Rakshaad vara sikshaa deeksha dakshaa
> Viroopaksha nee krupaa veekshana aapaekshitha
> Pratheekshanu upeksha saeyaka pareeksha saeyaka
> Raksha raksha anu praarthana vinaraa
[raksha*adhvara* ... *a*pEkshita (short 'a').]
> "O Lord Shiva, the one who protects the good and punishes the evil, I
> desire only one thing, your mercy. I have been and am waiting for just
> that. Please don't delay, please don't test me, please hear my prayers
> asking you to save my life."
Thanks again, Ajit, for posting this article. I rather
enjoyed revisiting this song after all these years.
-UVR.
Arun Iyengar
> Structurally, this song adheres (as strictly as a film song
> can) to the format of a type of Carnatic music composition
> called the "swarajati".
I just listened to the song. Its interesting you liken this to a swarajati.
What makes you think that KVM was not influenced more by pancharatna kritis
by Tyagaraja than the structure of a swarajati?
Very well sung indeed though I can't imagine Master Manjunath singing it on
screen. (Haven't seen the film.)
A
--
(Remove 999 to reply)
Ajit
Indeed, Vani Jairam's voice does not seem to suit the character of a
child at all in this song. Nonetheless, it is a stunning performance
in its own right.
Ajit
>
> Thanks again, Ajit, for posting this article. I rather
> enjoyed revisiting this song after all these years.
>
> -UVR.
And thanks for a wonderful response to the article. I really enjoyed
reading your write-up.
UVR
> "UVR" <u...@usa.net> wrote in message
>
>>Structurally, this song adheres (as strictly as a film song
>>can) to the format of a type of Carnatic music composition
>>called the "swarajati".
>
> I just listened to the song. Its interesting you liken this to a swarajati.
> What makes you think that KVM was not influenced more by pancharatna kritis
> by Tyagaraja than the structure of a swarajati?
To be frank, I didn't think about the pancharatna-s. Now that
you mention them, however, I still think I would've said what
I did, even if I had.
First, IMO, the pancharatnas themselves build on the swarajati
structure. That alone should be reason enough. I'm assuming,
of course, that you're talking about the "ghana raaga" kritis.
Tyagaraja's other pancharatna-s, e.g., the Kovvur or Srirangam
sets, do not conform to the swarajati-like structure.
But wait! There's more. The KVM song has a "faux" manodharma
swaraprastaara segment, which is not passe while singing the
pancharatna-s -- remember: KVM is trying to show that the kid
is a major Carnatic genius, and even a 'wayward' genius (say,
someone like Flute Mali) wouldn't do something as "uncool" as
that. Finally, the faux swaraprastara segment comes with a
generous helping of *swara*s-with-*jati*s.
Now, perhaps you could explain why you felt I should've likened
the structure of the song to that of the pancharatnas?
-UVR.
Arun Iyengar
> And, while we're at it, here's something for the even more
> technically inclined: it's not just any old Eka tala. KVM
> uses an unconventional (for Eka tala) "3/4 anaagata eDuppu"
> (the song begins 3/4 laghu after the samam). Fascinating.
You seem to credit KVM more than whats really deserved. Anaagata eduppus are
fairly common and there are tons of examples out there for filmi MDs to take
a leaf off of. While most of the ones I know are in chaturashra adi taala, I
really don't see how much difficult it is to adapt it to an chaturashra eka
taala given that you can really pass off eka taala as adi taala unless the
kriti ends in an odd number of 4-beat sequences.
> Structurally, this song adheres (as strictly as a film song
> can) to the format of a type of Carnatic music composition
> called the "swarajati". Swarajatis are most commonly heard
> accompanying Bharatanatyam/Kuchipudi dance recitals; the
> lyric is traditionally of the 'shR^ingaara rasa', but there
> are numerous exceptions. Again, for the technically inclined,
> the structure of a swarajati is simply this: two sets of
> saahitya (= word) stanzas, called the pallavi and anupallavi,
> followed by several sets of matching "swara (=sargam) plus
> saahitya", each called a "charaNa[m]".
A small nitpick. Anupallavi is an optional component. Also, swarajatis are
rarely sung in a carnatic concert as they are deemed too simple. It is
usually taught before the more complex varnas (which is where gamakas are
first learned). Usually they are taught in 3rd speed (4 swaras per beat).
A
PS. Repost
Arun Iyengar
> Arun Iyengar wrote:
> First, IMO, the pancharatnas themselves build on the swarajati
> structure.
No need for IMO here. It is a fact!
That alone should be reason enough. I'm assuming,
> of course, that you're talking about the "ghana raaga" kritis.
> Tyagaraja's other pancharatna-s, e.g., the Kovvur or Srirangam
> sets, do not conform to the swarajati-like structure.
Yes.
> But wait! There's more. The KVM song has a "faux" manodharma
> swaraprastaara segment, which is not passe while singing the
> pancharatna-s -- remember: KVM is trying to show that the kid
> is a major Carnatic genius, and even a 'wayward' genius (say,
> someone like Flute Mali) wouldn't do something as "uncool" as
> that. Finally, the faux swaraprastara segment comes with a
> generous helping of *swara*s-with-*jati*s.
> Now, perhaps you could explain why you felt I should've likened
> the structure of the song to that of the pancharatnas?
My bad. You were right in saying it follows the swara + jati "structure" for
the most part. I was referring to the simple swarajatis that are taught to a
beginner student like raara venu gopa baala or saamba shivaayanave. Though
pancharatna kritis do follow swarajati structure, they are not referred to
as swarajatis per se. The above kriti has a little alaap and taanas too as
opposed to a simple swarajati which is more like preparing a student to face
whats to come ahead (varnas and keerthanas). Listening to this song, it
doesn't appear that the kid is singing a simple swarajati and your
explanation about the little kid being a genius explains that.
UVR
> "UVR" <u...@usa.net> wrote:
>
>>And, while we're at it, here's something for the even more
>>technically inclined: it's not just any old Eka tala. KVM
>>uses an unconventional (for Eka tala) "3/4 anaagata eDuppu"
>>(the song begins 3/4 laghu after the samam). Fascinating.
>
> You seem to credit KVM more than whats really deserved. Anaagata eduppus are
> fairly common and there are tons of examples out there for filmi MDs to take
> a leaf off of. While most of the ones I know are in chaturashra adi taala, I
> really don't see how much difficult it is to adapt it to an chaturashra eka
> taala given that you can really pass off eka taala as adi taala unless the
> kriti ends in an odd number of 4-beat sequences.
The anaagata eDuppu is not uncommon for Adi taaLa at all, but my
point was about it being *unconventional* "for the Eka taaLa".
Either you have some concrete examples (Carnatic or filmy, your
pick) in your possession that you can proffer as proof of the
invalidity of my assertion (in which case I will gladly revise
my opinion), or you are just arguing for the sake of argument
(in which case I have no desire to engage in this discussion).
(BTW, I should've said 3/8 instead of 3/4).
>>Again, for the technically inclined,
>>the structure of a swarajati is simply this: two sets of
>>saahitya (= word) stanzas, called the pallavi and anupallavi,
>>followed by several sets of matching "swara (=sargam) plus
>>saahitya", each called a "charaNa[m]".
>
> A small nitpick. Anupallavi is an optional component. Also, swarajatis are
> rarely sung in a carnatic concert as they are deemed too simple. It is
> usually taught before the more complex varnas (which is where gamakas are
> first learned). Usually they are taught in 3rd speed (4 swaras per beat).
Anupallavi is optional, correct. However, "rarely sung" is
only true if one is talking about 'light' swarajatis like
'raaraa vENugOpabaala'. I have heard one recording of a
TR Mahalingam (Mali) concert where he has presented 'saamba-
shivaa yanavE' (khamaas), and get this: he plays the piece
_in chowka kaalam_! Classic Mali behavior ;) As for gamakas,
Syama Sastri's swarajati's are FULL of them (try singing tODi
or bhairavi without gamakas), and they aren't heard as rarely
as you'd think, either. In one old concert recording I have
heard, Semmangudi Srinivasa Iyer indulges the listener with
a delectably elaborate neraval at 'shyaama kR^iShNa sahOdarI'.
If you haven't heard this, you absolutely must.
-UVR.
Arun Iyengar
> The anaagata eDuppu is not uncommon for Adi taaLa at all, but my
> point was about it being *unconventional* "for the Eka taaLa".
> Either you have some concrete examples (Carnatic or filmy, your
> pick) in your possession that you can proffer as proof of the
> invalidity of my assertion (in which case I will gladly revise
> my opinion), or you are just arguing for the sake of argument
> (in which case I have no desire to engage in this discussion).
My point is I don't see what is so fascinating about an eduppu in eka taala.
You seem to credit KVM for doing something ingenious and I don't see it that
way.
A
--
(Remove 999 to reply).
UVR
>
> My point is I don't see what is so fascinating about an eduppu in eka taala.
> You seem to credit KVM for doing something ingenious and I don't see it that
> way.
Ok, let us try this another way. You think it's no big deal, but
if this is indeed so trivial exercise, show me a CCM composition
by that uses this exact take off point in Eka taaLa. All I'm
saying is I think KVM is doing something quite 'unconventional'
here, and it is this (the unconventionality of it) that I find
fascinating [specifically because it so subtly and effectively
showcases the intended 'prodigy-ousness' of the boy's character].
If you still disagree, fine! De gustibus non disputandum est.
-UVR.
Arun Iyengar
> Ok, let us try this another way. You think it's no big deal, but
> if this is indeed so trivial exercise, show me a CCM composition
> by that uses this exact take off point in Eka taaLa.
Simply put, if you can do it in adi, you can do it in chaturashra eka as
long as you have even number of 4-beat sequences in the composition. Both
pallavi and anupallavi of this song have even number of 4-beat sequences
which is probably why the original poster probably assumed it is set to adi
tala.
Peace.
UVR
> "UVR" <u...@usa.net> wrote:
>>Ok, let us try this another way. You think it's no big deal, but
>>if this is indeed so trivial exercise, show me a CCM composition
>>by that uses this exact take off point in Eka taaLa.
>
> Simply put, if you can do it in adi, you can do it in chaturashra eka as well
*sigh*
So, do you or do you not have an explanation for why you have thus far
been unable to produce even one example of this supposedly trivial
exercise, even after my repeated supplications? Or is your argument
going to continue to be the old excuse of the incapable: "it is so
trivial that it doesn't even have to be done"? Remember, the point
you are trying to counter is this: anaagata eDuppu is NOT unconventional
for the Eka taaLa. [BTW, if you want, we can take this to RMIC.]
> Both pallavi and anupallavi of this song have even number of 4-beat sequences,
The anupallavi has an odd number of aavartanams. Check it out.
> Peace.
[I wasn't, nor am I now, at war, but ok, sure.] Peace.
-UVR.
Arun Iyengar
> Arun Iyengar wrote:
>
> > "UVR" <u...@usa.net> wrote:
> >>Ok, let us try this another way. You think it's no big deal, but
> >>if this is indeed so trivial exercise, show me a CCM composition
> >>by that uses this exact take off point in Eka taaLa.
> >
> > Simply put, if you can do it in adi, you can do it in chaturashra eka as
well
>
> *sigh*
>
> So, do you or do you not have an explanation for why you have thus far
> been unable to produce even one example of this supposedly trivial
> exercise, even after my repeated supplications?
We are talking past each other. I don't have an example and I don't see the
need for one.
A
---
(Remove 999 to reply)