Tuesday, November 17, 2009

Bhagyamati - Was she for real?

Sri KVBhoopal Rao and his book "Bhagyamati"



Sri Bhoopal Rao hails from the clan of Akkanna and Madanna, the ministers in the Golkonda dynasty. He is a historian and written much on the subject. I met him when he could be called an old man. But his enthusiasm was almost contagious. He strived to study the history of Qutabshahis and published his results.


The book in question was published when the 400 years were to be celebrated. I was also somehow involved in those celebrations planned extensively but never happened.


Sri Rao took all the pains to impress about the theme of his work and saw to it that it was published.

Sri Krishna Satry garu, an equally serious researcher and former head of AP State Archeology Department wrote the introduction to this 96 page book in Telugu. The theme is about the existence of a lady by name Bhagamati. People want to call the city as Bhagyanagaram without even knowing the history. It is interesting to note that the name now prevailing, Hyderabad, is also after the same lady who after embracing islam became Hydermahal.


భాగమతి గాధ తాలూకు అనేక సాక్ష్యాధారాలను  వెలుగులోకి తెచ్చి భాగమతికి ఈ పుస్తకం ద్వారా జీవం పోసి భూపాలరావుగారు చరిత్రకారులలో ఒక ప్రత్యేకస్థానాన్ని సంపాదించుకున్నారు. Says Sri Krishna Sastry. He also narrates his visit to the tomb in Rein Bazaar supposedly belonging to Bhagamati or Hydermahal.


The book reads well. Sri Rao’s skill and felicity with the language and expression make it interesting. I do not know whether I can comment that research findings in the book are few and the author himself agrees to this fact. However he makes a case for the colorful existence of the lady love of Quli Qutub Shah the ruler of Hyderabad..


Sri Rao’s passion for the topic is evident in the preface he wrote under the title “Mansuloni Mata”.

It is really his heart and not just dear to his heart.


Unabashed, he says, “తిట్టమరిగిన నోరూ, తిరుగమరిగిన కాలూ స్తబ్ధంగ ఉండలేవంటారు విజ్ఞులు. ఉద్వేగంగ దౌడు తీయుటకు అలవాటు పడిన నా మనస్సు, జవాశ్వం లాగ ముందుకురకటం మానలేదు. These words from an old man !!


Two experts Sri Sastry mentioned above and also Sri BNSastry, an epigraphist and literary historian, endorse the work.


Couple of exerpts from the book makes an interesting reading.


Even today many believe that the story of Bhagamati is just that, a story, and such a female never existed. There is another group which strongly believes in her existence. There is no doubt about the three people mentioned in this entry being from the later group. They plead the case and almost prove her existence.


 (Click on the images to see them in big size)

I feel all people interested in history and particularly local history  should be reading such works. I really do not know if the book, published way back in 1993 is now available in any shop. I do not know whether Mahamantri Madanna Trust is active still.


The address given in the book is:

Mahamantri madanna Trust

3-4-526/41

Lingampally

Hyderabad

Monday, November 16, 2009

Aravind Bhargava - Mandolin

Aravind is a student of Engineering and is also a student of Music.
He is learning Mandolin with the one and only USrinivas.
Aravind performed yesterday at Nadabharati, Hyderabad.
No doubt he has a long way to go, but, the promise he has shown is worth appreciation.
He is totally involved in the music and is aware of his place there.
No airs is one good thing I found in him.

He desrves a pat and blessings from the elders.
We can rest assured that the trend of Carnatic music on new instruments will continue for long, thanks to such young people.

I bring to you some pieces from his concert of 15 11 09.

Sri Komanduri Rajan played Violin and
Sri Srinivasa Gopalan was on Mridangam.
They are youngsters too and need blessings of rasikas.

Link:

http://www.mediafire.com/?sharekey=10f3f26dc390f408ab1eab3e9fa335caa639d60c8b7865aa

Saturday, November 14, 2009

Needamangalam - Kalinga Nartana Tillana


Needamangalam

There was this young man who visited us.
Was his name Ravindran?
Later he joined AIR as a programme officer.
He told a joke.
He went to AIR for a recording.
The staff member in charge asked him to come with his instrument into the studio.
Ravindran is a Konnakol artist.
The staff member never knew that Konnakol is a pattern of saying the rhythm syllables orally.
Earlier days, carnatic artist used to have Konnakol also as accompaniment, along Mridangam, Ghatam, Kanjira and Morsing.
I heard a few recordings of Konnakol with Mali sir.


This young man was a disciple of Needamangalam Krishna Murthy Bhagavatar.
The youngster narrated many incidents about his guru.
I really do not remember much.
But, I have a clear idea that the artist was a highly disciplined man.
That is when I was introduced to the works of "OoththukkADu VenkaTa Subbaiyer".
Ravindran sang Kalinga Nartana Tillana.
He was very poor at Pathantaram.
I transcribed the whole thing and broke my head to make out the right wording.
Those days, internet never existed.
Later NSSrinivasan told Raja reddy to take up the Tillana for performance.
He did it.
Later I heard the version sung by Needamangalam.
I swear this is one of the few songs that haunt me.
I brought Akka kelavva to this blog because it haunted me always.
Now I am also bringing here,Kaling Nartana Tillana by Needamangalam.
Aruna Sayeeram made this item very popular.
But, any one singing this Tillana is only after Needamangalam Krishna Murthy Bhagavatar.


His rendition of OVK items as a part of Kalinga Nartanam and Rasalila are very popular.
This Tillana is a part of the earlier mentioned record.
I could not find my old recording and borrowed it from a friend who is a gold mine of muisc.
Then I found my recording too.

You can download the song from here.


And this is the patham of the Tillana.

1. tAm dhIm tarana (tillAnA).rAga: ghambIra nATTai tAla: Adi


tAm dhIm tarana tAm dhina taTina

tAm dhIm tarana tAm dhittakiTa dhrigu takiTa dhrigu takiTa tadhingiNathom

tAm dhIm tarana tAm yamunA tatAka pankEruhabhava
tAkiTa tAkiTA
sArasadaLa nayanAyata sAyaka mudrita jaya jaya tam dhIm tarana TAm

ThAmita tajjham taka tajjham takatika tajjham tAm (4)
lNla manohara jAlavibhUshaNa nirata jalandhara bhujanga nartana
nIraja tatAga adiga mR.duLa pada nikaTa tarangOttuM.ga tADaM.ga nirataka nirtaka tAm
taka tai, taka tadhimidhiyata taka
tAkiTa takajaga dhRigujaganaMdam takajaga takajaga dhRigujaganaMdam
yamunA taDAga tuM.gatarangaM himakarasmitita ramita ShubhAn.gam
itas tathastara karuNApA.Mgam yativara hR.daya sarOruha bhR.Mgam
dhiNata tillAna, dhiNata tillAna, dhiNata tillAna dhRigu takiTa tillAna
dhiNata tillAna, dhiNata tillAna, dhiNata tillAna dhRigu takiTa tillAna
alaka sindhUra, alaka ShR.MgAra, vadana ghambIra uragamaNa sancAra
nanda sukumAra navanIta dadhicOra, canda maNihAra jalabhavati nuta dhIra
(naM-)nanda sukumAra navanIta dadhicOra,(svacc-) canda maNihAra jalabhavati nuta dhIra
jayavijayIbhava nandakumAra vR.jajana paramAnanda kiShOra
kAlIya naTanAnda ghambhIra karuNArasayudha bhAva SharIra
dhIm tathAm ta dhIm tathAm ta tai
dhIm tathAm ta dhIm tathAm ta tai
dhIm tathAm ta dhIm tathAm ta tai - dhimi tadhimita kiTajhaNu-
dhRugunagu nAndari takunagu nandari dhimitatAgu dhimi tadhimita kiTajhaNu
vR.jakumAra mahimAlankAra vanamalA durandhara kR.takR.tAtAra
tajjham, tat- takajjham, tat- takaNNam, tat - takuRRam -tat
tAkuja namdari tatakuja namtari tAjanamtari tadhimita kiTajhaNu
tAkuja namdari tatakuja namtari tAjanamtari tadhimita kiTajhaNu
adbhuta nartana citrita mudrita vigna samudbhava madbhuta madbhuta
tAkuja namdari tatakuja namtari tAjanamtari tadhimita kiTajhaNu
tidiShuta kAla vidhisuta ShIla gatiShaya lIla dhR.tapada lOla
tAkuja namdari tatakuja namtari tAjanamtari tadhimita kiTajhaNu
tadhimi takiTa dhimitAta - dhimitakiTa dhimitAta - dhimitakiTa dhimitAta ta-
tA,- tatthOm, tat- thai, kiTatakatarikiTathom - tarikiTa tarikiTa
tAkuja namdari tatakuja namtari tAjanamtari tadhimita kiTajhaNu
tadhimi dhittayya tarikiTa tathA- jham, - athiShaya sukha nRbhutapadakarapAda jham,
sarasalOka muraLIrava nAtha sakalalOka sammOhana gIta
takkudhinnathaka dinnanthaka thaka tAthai tA.mga tAthai tA,
- dhRiga thaka thaka dinnattAM.ga tAthai tA.mga tAthai tA,
kadaMba kisalaya miLita nUpura padanjalitakR.ta pAdatthAm
tillAna, dhRiga tillAna dhRiga dhRiga tIllAnAkiTa tOmta-
tanNannangi-tatthom -tathai -tatthom -thaka
tAkiTa tarikiTa thAm,ta -dhIm, ta -thom, ta -thai, -ta
gajOra jabanda adbhudanga cirasi - calanam, calanam, kR.tanam, idanam, kR.tanam, ida-
candra vadangara kangkaNa kingkitaNangananam pada rada rada dhimi dhimi jhaNu jhaNu thAm ta-
dhAtta tillAnaga naga bhUshaNa takiTa taghastaDAya budakara mandas-
mitakara vara pUjita padayugaLa, hari-
jayavijayIbhava nandakumAra vR.jajana paramAnanda kiShOra
kAlIya naTanAnda ghambhIra karuNArasayuta bhAva SharIra
mada madhukara madhu padaraLa sama nayana kamaladaLa calana muni
hrdayam api cOra cAturA dayAkarA murAri ShrIkarA

Friday, November 13, 2009

Bharati - Telugu Literary Monthly

Bharati was a literary monthly magazine from the stables of Andhra Patrika Group. Sri Kasinathuni Nageswara Rao, known as Desoddharaka and Viswadata started this magazine way back in 1924. He also started Amritanjan pain balm. It is interesting that national leaders like him went into business to sustain the good work they wanted to do. In the editorial of the inaugural issue Sri Rao said “


భారతిని పెంచి పోషించవలసిన భార మాంధ్ర లోకాధీనమై యున్నది. ముఖ్యముగ నీ భారము విద్యావంతుల మీదను గలదు.


The magazine celebrated its Golden Jubilee in 1974 and brought out a special issue. This is the contents page of the issue.



You can see that all popular writers of many fields contributed to the issue. It is indeed necessary that such volumes are preserved for the benefit of the history of the language.

It is known to all the literary people that Bharati was a kind of research magazine for the field and to be featured in the magazine was an achievement in itself. The magazine seized publication due to reasons unknown. We were told that Pantulu garu wrote in his will that money from Amritanjanam should be used for the upkeep of the magazine. Interestingly even the weekly and daily from the group stopped publication. Amritanjanam continues to relieve people from pain though!


I do not know who is interested in reading the contents of the magazine and many such publications.


I am sure the text can be revived even after a few years.


There is a lone painting featured in the issue and I bring it here.


The artist is Sri Koduru Srirama Murthy. There is an article on him along the beautiful painting.




(Click on the images to see them in big size)

I need some feedback on preserving articles and art work from such publication.

Thursday, November 12, 2009

Madurai Sri Somasundaram - Vocal



Sri Madurai Somu, as he was dearly called was an interesting artist.
I have never seen another singer who was so happy singing.
MSBalasubrahmanya Sarma was another perhaps.
I am witness to Somu sir stopping for a moment while singing as if to absorb the beauty of the song! He would utter "Andavane! Muruga" and would continue singing!
I had the good fortune of talking to him at Chennai season once way back in very early 80s.
I asked him about the Telugu pronounciation.
He was really friendly in answering me about the matter.
He knew Telugu but could not help with the correct diction!
He was aware of the fact and accepted it!
What a simplicity!

I am happy to bring to you recordings from a very old  and popular LP of Somu sir.

Accompaniment details not kept.

Item list:

01 Sriganapatini – Saurashtram

02 Guruleka - Gauri Manohari

03 Devadideva - Sidhuramakriya

04 Sadamadin - Gambhiravani

05 Kadalevadu kade Ramudu - Narayana Gaula

06 Naradamuni - Kamavardhini

07 Varalandukommani – Ghurjari


Link:




Some more of his old recordings are on the way.

Tuesday, November 10, 2009

Tukaram Maharaj - Poetry

Tukaram was a great saint.
He studied the world so much that all his works sound prophetic.
I was lucky till now, to read only a fraction of his works.
I want to read more of him.
I am impressed so much that I want all to read him.

Here is a small poem of Tuka.
Tuka – Rasabh








It means something like this.


A donkey that is made to have bath in a sacred river does not become a horse. He, who does not have a pure mind, does not listen to any good advice. Even if a sweet juice is fed to a snake, there won't be any reduction in its poison.


रासभ धुतला महातीर्था माजीं

नव्हे जैसा तेजी शामकर्ण

तेवीं खळा काय केळ्या उपदेश

नव्हेची मानस शुद्ध त्यांचे

सर्पासी पाजिलें शर्करा पीयुष

अंतरींचे विष जाऊं नेणे


For the benefit of my Telugu brethren, the meaning here.


గాడిద మహా తీర్థంలో జలకమాడినా

గుఱ్ఱమయ్యేది మాత్రం కల్ల

అంతరంగ శుద్ధి లేనివాడు

అందుకే ఏ బోధనా వినడు

పాముకు పంచదార పానకం పోసినా

విషం విషంగానే ఉంటుంది.

Famous Telugu poet Vemana in one of his Padyam says that you may wash the skin of rat for any number of days. But, it will never turn white. Tuka's poem also tells the same thing. they were clear about the nature of bad people who would never change. It is interesting to read these people. Sarvagna in Kannad is another poet who stands on the same pedestal as these two!!

Monday, November 9, 2009

Mudikondan Venkatarama Iyer - Vocal

I am happy to bring to you an old radio recording of Sri Mudikondan Venkatarama Iyer.

I found on the net, this write - up on Sri Mudikondan.


This is what Sri Pinakapani (Sripada?) wrote about Mudikondan.


An artiste is born with the gift of music. He succeeds in studying at the feet of great masters of the art and picks up principles, practices, and idea with great faith and devotion. He works hard for years and becomes a real vidwan. He performs all over the country with great merit and scholarship, setting up ideals for the younger generation. Great honours cling to him, honouring themselves in turn. At a time when he is most needed by the times, death claims him. Can God give the world another stalwart musician like him? Perhaps, he can. But will He?

Mudikondan Venkatarama Iyer, was a stalwart among top-ranking musicians of the past five decades. His music was known for its scholarship than for popular appeal.

Raga Alapana

In raga alapana, he gave us glimpses of the Konerirajapuram style. His method of raga alapana was unique, was not heard from any other vidwan of his generation. However little the scope for elaboration treatment, he handled vakra-raga with great ease and control. He revelled in the creative rather than the decorative style. The average listener may not find reason to applaud his raga alapana, but musicians had lessons to pick up. The phrases and patterns of raga alapana were all his own, more exploratory than ornate.



    His neraval, in slow tempo, resembled raga alapana set to tala; while in fast tempo, he set up standards to follow, using rich sanchara-s and jati prastara-s, producing great effect. His kalpanaswara had a charm of their own. Janta swara-s, datu swara-s, and jati prastara-s, woven over a wide canvas provided great variety, which was the hallmark of his swara kalpana. He would reel of with great relish, 40 to 50 varieties of swara kalpana patterns within the scope of one avartanam, be it Adi tala or Khanda Triputa or Misra Chapu, in quick succession. Far from being tired, his audience always asked more of such kaleidoscope presentation of swara kalpana. He believed in sarvalaghu patterns of renditions, keeping the calculative aspect of swara kalpana at a distance, for he was a lover of spontaneity and creativity.


Great in Pallavi

Mudikondan’s Ragam Tanam Pallavi recitals were more sought after than his regular recitals. The phrases he sang in Tanam belonged to the past generation. Greater proportion of ‘akara’ than of ‘na’, ‘ta’, ‘tom’ and ‘nam’ syllables, was perhaps responsible for the variety and scope of elaboration. Tanam is madhyama kala elaboration of ragam, no doubt; but Mudikondan’s Tanam phrases were entirely different from his madhyama kala elaboration of raga alapana. The phrases, carrying a flavour of their own, were beautifully set, giving Tanam an individual entity, a personality of its own, saving it from being a mere segment of raga alapana.

A Great Laya vidwan

The ease and skill with which Venkatarama Iyer handled Pallavi are well known. His hold on laya was extraordinary. Kalapramanam was as near to perfection as possible. The way he marked Tala while handling a 4-kalai, slow-tempo Pallavi, whatever the nadai, was remarkable. He would mark each of the kriya-s of the Tala only once at its proper time without sub-dividing the matra-s of each kriya into halves or fourths. For example, when he took up Adi tala, in four kalai, slow-tempo in Chaturasra nadai, he would mark only 8 kriya-s that belong to Adi tala but not (for convenience of maintaining kalapramanam) subdivide 8 kriya-s into 32 beats. This skill in itself was extraordinary and deserves high praise. When an unusually difficult Pallavi, set to a rare and difficult tala, is exhibited before a learned audience, the marking of tala correctly on the one hand and extemporization of Pallavi on the other must each claim 50% of the vidwan’s concentration. When Mudikondan did such a Pallavi, he appeared to give 100% concentration to Pallavi elaboration and all the 100% of his attention again to Tala marking. So consummate was his skill in the total presentation of Pallavi that the audience could only gape in utter admiration at Mudikondan's mastery of Pallavi and Laya. Those who had witnessed in 1972 his demonstration in the Madras Music Academy hall of the Kambhoji raga Pallavi set to Simhanandina tala, will, I am sure, nod in assent.

Mudikondan Venkatarama Iyer, the great lakshya-lakshna vidwan, had a natural modesty to match his greatness. He lived the life of a wholesome musician, dedicating his entire lifetime to acquire mastery over the art of music, not bothering about limelight and headlines. His stature made him immortal in his field; it is did not choose to give him material gains. Let us hope and pray that he might be born again in South India to recapture the glory of Carnatic music.
For those who do not know, Sangeeta kalanidhi Smt. R Vedavalli and Sri B.Krishna Murthy are his disciples.

Mudikondan Venkatarama Iyer – Vocal

RKVenkatarama Sastry – Violin

Coimbatore N Ramaswamy – Mridangam


Items:

01 Srishankara – Nagaswaravali

02 Dayajuchutaku - Ganavaradhi

03 Ninnuvina - Abheri

04 Kanugonu Saukhyamu - Nayaki

05 Neelotpalambikayam - kannadagaula

06 Karuvelpulu - Kalyani

07 Krishnananda mukunda - Gaulipantu

08 Edo Teriyamal - Hamir Kalyani


Link: