Carnatic Musing 13 – Ganesh Chathurthi Special 2 – Pranamamyaham Shri Gauri Sutam.

Link to the audio – GN Balasubramanyam (GNB)

https://www.dropbox.com/s/nroij939igj5ikf/Maha%20Vidwan%20Shri%20G%20N%20Balasubramaniam%20-%20Pranamamyaham%20Shri%20Gauri%20Sutam-Gowla-Mysore%20Vasudevachayari-XGIuCpo_vSI.mp3?dl=0

Meaning in English

I constantly salute the son of Gauri, the devotee of Vaasudeva who uses a snake as a couch. He is the Lord of the group of attendants of Shiva . Lord Indra and the Devas serve him. He wears a snake as a garland and is worshipped by sages. He holds his favorite sweetmeat (of liberation). He has an elephant face. He destroys the unlimited ego garva of Lord Chandra (moon). He grants happiness to those who bows to Him and protects His devotees who pray Him. He removes the obstacles fir our liberation.

Sanskrit Verses

पल्लवि

प्रणमाम्यहम् श्री गौरी सुतम्

फणि तल्प वासुदेव भक्तम् सततम्

अनुपल्लवि

गण नाथम् अमर बृन्द सेवितम्

फणि हार भूषितं मुनि वर वन्दितम्

चरणम्

धृत चारु मोदकम् गज मुखम्

सितकरामित (=सितकर + अमित) गर्व भञ्जकम्

नत लोक (alt: भूत) संतोष दायकम्

श्रित भक्त पालकम् सिद्धि विनायकम्

English Transliteration :

pallavi

praNamAmyaham shrI gaurI sutam

phaNi talpa vAsudEva bhaktam satatam

anupallavi

gaNa nAtham amara brnda sEvitam

phaNi hAra bhUshitam muni vara vanditam

charaNam

dhrta chAru mOdakam gaja mukham

sitakarAmita garva bhanjakam

nata lOka (alt: bhUta) santOsha dAyakam

shrita bhakta pAlakam siddhi vinAyakam

Meaning of the Sanskrit Words

पल्लवि

प्रणमाम्यहम् – प्रणम अहम् – my salutations

श्री गौरी – Goddess Parvati

सुतम् – son

फणि – Snake

तल्प – couch

वासुदेव – Vasudeva / Lord Vishnu

भक्तम् – devotee

सततम् – constantly /perpetually/habitually

अनुपल्लवि

गण – Attendants group

नाथम् – Leader

अमर – Celestials/ Higher mortals / Indras

ब्रुन्द – व्रुब्द – multitude

सेवितम् – serve

फणि – snake

हार – Garland

भूषितं – wear / adorn

मुनि – Sages

वर – best

वन्दितम् – revered

चरणम्

धृत – holding

चारु – beloved

मोदकम् – sweet meat

गज – elephants

मुखम् – faced

सितकरामित (=सितकर + अमित) – Moon + infinite/immense

गर्व – pride

भञ्जकम् – break

नत – Bowing to

लोक (alt: भूत) – people

संतोष – happiness

दायकम् – provider /giver

श्रित – worship

भक्त – devotee

पालकम् – protects

सिद्धि – final emancipation

विनायकम् -removing (impediments/obstacles)

Meaning in Tamil

பல்லவி

அடி பணிவேன் அருள்மிகு கௌரியின் அரும்புதல்வனை

பன்னகசயனன் பரந்தாமனின் பரம பக்தனை அனுதினமும்….. அடி

அனுபல்லவி

பதினென்கணங்களின் அதிபதி, அடிபணியும் அமரர்குழாமுடன்

அருமுனிவர் பெருதுதிபாடும் அரவுமாலை அணி கணபதியை….அடி

சரணம்

கைத்தலமதில் விழைமோதகம் பிடித்த ஆனைமுகனை,

சந்திரனின் முடிவிலா செருக்கழித்து, பணியும் அடியார்க்கு

பதமுடன் மகிழ்வளித்து, போற்றிடும் பக்தரைக் காத்தருளும்

இடர் களை விநாயகப் பெருமானை ….அடி

The Dance of the Yuga – Conclusion – Prayer – Carnatic Musing 9

I consider myself as extremely fortunate to make an attempt to understand the Dance of the Yuga from a three dimensional (Literary, Music and Dance) perspective. My learning has been immense. There is only one to thank – The Lord Himself. What better way to conclude these set of blogs than with a composition by Lalitha Dasar made universally popular by the legendary Carnatic Musician Chembai Vaidyanatha Bhagawathar and later on by Dr KJ Yesudass.

Audio Link – Chembai Vaidyanatha Bhagawathar

https://www.dropbox.com/s/x2zl12skipscsra/Paavana%20Guru%20%20-%20Chembai%20-%20%20Hamsaanandi-NbjeMhwgo2Q.mp3?dl=0

Audio Link – KJ Yesudass

https://www.dropbox.com/s/9perlmzyaxii7bv/Padmasree%20Dr%20KJ.%20Yesudas-Paavanaguru%20Pavanapura%20-Chembai%20Sangeetholsavam-Classical-uu1Qp9aPYqE.mp3?dl=0

Meaning in English

I surrender to the holy lord of the town created by Lord Guru and Lord Pavan (Guruvayur). The Lord is Sri. Krishna, who is dark like the rain bearing cloud and lives in the cattle rearing village (Gokulam). He is worshipped by Narada and Shiva and is the is protector of the three worlds. He is worshipped by Brahma and Indra ,shines greatly holding a flute and gives happiness to the damsels of his village. He cannot be defeated and is very magnanimous. He as pretty as hundred Gods of Love (Manmatha). He is a never ending source of mercy and is like the Chakora bird to the moon like face of Radha. He is the divine brother of Parvathi.

Sanskrit Verses

Pallavi

पावनगुरु पवन पुराधिषमाश्रये

Anupallavi

जीवनधर सङ्काशं कृष्णं

गोलोकेशं जीवनधर नारद गिरीशं

त्रिभुवनावनान्वेषम्

Charanam

पूजितविधिपुरन्दरं राजितमुरलीधरं

व्रजललनाऽऽनन्दकरं अजितमुदारम् – कृष्ण

स्मरशतशुभकाकारं निरवधि करुणापूरं

राधावदनचकोरं ललितासोदरं परम्

English Transliteration

pallavi

pAvanaguru pavana purAdhiShamAshrayE

anupallavi

jIvanadhara sankAsham krSNam gOlOkEsham bhAvita nArada girIsham tribhuvanAvanAvEsham….pavana

caraNam

pUjitavidhi purandaram rAjita muraLIdharam vraja lalanAnandakaram ajitamudAram

smarashada shubhakAkaram niravadhi karuNApUram rAdhA vadana cakOram laLitA sOdaram param…pavana

Meaning of the Sanskrit Words

Pallavi

पावन – pure/holy

गुरु – Lord Guru

पवन – Lord Vayu

पुराधि – Town

षमाश्रये – surrender

Anu Pallavi

जीवनधर – life preserving or water bearing (cloud)

सङ्काशं – appearance

कृष्णं – Lord Krishna

गोलोकेशं – गो लोकेशं cow, leader of the world

भावित – worshipped

नारद – Saint NArada

गिरीशं – Who lives in the Mountains (Lord Shiva)

त्रिभुवन – three worlds            

अवन – preserver/protects

अवॆशम् – posses

पूजित – Worshipped

विधि – destiny (in this case Brahma who decides destiny)

पुरन्दरं – name of Indira

राजित – brilliant/illuminated

मुरलीधरं – flute playing

व्रज – group/band/flock

ललना – woman

अनन्दकरं – delighting

अजितं -unconquered

उदारम् – generous /bountiful/illustrious/lofty

स्मरशत- स्मर शत – cupid hundred

शुभाका कारं – शुभ , beauty, author/source

निरवधि – infinite/endless

करुणापूरं – compassion/mercy

राधा – Radha

वदन – face

चकोरं – Chakora ird

ललिता – Parvati

सोदरं – brother

परम् – divine/supreme

Meaning in Tamil

பல்லவி

திருத்தலகுரு வாயூர் அப்பனை சரணமடைந்தேனே

அனுபல்லவி

கருமேக வண்ணன் கண்ணன் ஆயர்பாடி நாயகன்

கயிலை ஏகம்பனும் நாரதனும் வணங்கும்

மூவுலகு காத்தருளும்…… திருத்தல

சரணம்

பிரமனும் இந்திரனும் துதிக்கும் ஒளிநிறை குழலோனே

கோபியரின் மனமகிழ் வெல்லஇயலா தயாளனே- கண்ணா

காமன் நூறினும் மேல் எழில்கூட்டும் அழகன் அளவிலா கருணையன்

ராதையின் வதனம் எதிர்நோக்கும் நிலவருந்துபுள் பறவையவன்

உமையவளின் அருள்திரு சகோதரன் …….. திருத்தல

Carnatic Musing 10 – The Dance of the Yuga – Part 1 – Adidano Ranga

“இயல்” Literary/Prose – Sensing through Bhakti – – Purandara Dasa

Link to the Audio

https://www.dropbox.com/s/k22zjvm5rdosf0v/R.K.Srikantan_Adidhano%20Ranga%20-%20Aarabhi.mpg-LeqoPYe1iDU.mp3?dl=0

Verses in Kannada

In understanding the verses and the meaning of the words as envisaged by the composer, I would like to thank Shri. K.Naresh Babu for his help.

ಆಡಿದನೋ ರಂಗ ಅದ್ಭುತದಿಂದಲಿ ಕಾಳಿಂಗನ ಫಣೆಯಲಿ [ಪ]

ಪಾಡಿದವರಿಗೆ ಬೇಡಿದ ವರಗಳ ನೀಡುತಲಿ ದಯ ಮಾಡುತಲಿ

ನಲಿದಾಡುತಲಿ ಬೆಣ್ಣೆ ಬೇಡುತಲಿ ಕೃಷ್ಣ [ಅ ಪ]

ಅಂಬುರುಹೋದ್ಭವ ಅಖಿಳ ಸುರರು ಕೂಡಿ

ಅಂಬರದಲಿ ನಿಂತು ಅವರ ಸ್ತುತಿಸೆ

ರಂಭೆ ಊರ್ವಶಿ ರಮಣಿಯರೆಲ್ಲರು ಚಂದದಿಂ ಭರತನಾಟ್ಯವ ನಟಿಸೆ

ಝಂತಟ ತಕಧಿಮಿ ತಧಿಗಿಣಿ ತೋಂ ಎಂದು

ಝಂಪೆ ತಾಳದಿ ತುಂಬುರುನೊಪ್ಪಿಸೆ

ಧಾ ಮ ಪ ಧ ಸ ರೀ ಎಂದು ಧ್ವನಿಯಿಂದ ನಾರದ

ತುಂಬುರು ಗಾನವ ಮಾಡಲು ನಂದಿಯು ಮದ್ದಲೆ ಚೆಂದದಿ ಹಾಕಲು[1]

ಫಣವ ಮೆಟ್ಟಿ ಬಾಲವ ಕೈಯಲಿ ಪಿಡಿದು ಫಳಫಳಿಸುತ್ತ ನಾಟ್ಯವನಾಡೆ

ಚಂದ್ರಮಂಡಲದಂತೆ ಪೊಳೆಯುವ

ಮುಖದೊಳು ಚಲಿಸುವ ನೀಲಕೇಶಗಳಾಡೆ

ಕಾಲಲಂದುಗೆ ಗೆಜ್ಜೆ ಘಲು ಘಲು ಘಲುರೆನುತ ಉಡಿಗೆಜ್ಜೆ ಘಂಟೆಗಳಾಡೆ

ದುಷ್ಟ ಕಾಳಿಂಗನ ಮೆಟ್ಟಿ ಭರದಿಂದ ಪುಟ್ಟ ಪಾದವ ಇಟ್ಟು ಶ್ರೀ ಕೃಷ್ಣನು

ಮೆಟ್ಟಿದನು ತಕ ಧಿಮಿ ತಧಿಕೆನುತ[2]

ಸುರರು ಪುಷ್ಪದ ವೃಷ್ಟಿಯ ಕರೆಯಲು ಸುದತಿಯರೆಲ್ಲರು ಪಾಡಲು

ನಾಗಕನ್ನಿಕೆಯರು ನಾಥನ ಬೇಡಲು ನಾನಾ ವಿಧದಿ ಸ್ತುತಿ ಮಾಡಲು

ರಕ್ಕಸರೆಲ್ಲರು ಕಕ್ಕಸವನೆ ಕಂಡು ದಿಕ್ಕು ದಿಕ್ಕುಗಳಿಗೆ ಓಡಲು

ಚಿಕ್ಕವನಿವನಲ್ಲ ಪುರಂದರ ವಿಠ್ಠಲ ವೆಂಕಟರಮಣ ಬೇಗ ಯಶೋದೆ

ಬಿಂಕದೊಳೆತ್ತಿ ಮುದ್ದಾಡೆ ಶ್ರೀ ಕೃಷ್ಣನ[3]

English Transliteration

Aadidano ranga adbhutadindali kALingana phaNeyali

pADidavarige bEDida varagaLa neeDutali daya mADutali

nalidADutali beNNe bEDutali krishna

amburuhodbhava akhila suraru kooDi

ambaradali nintu avara stutise

rambe Urvashi ramaNiyarellaru

chendadim bharata nATyava naTise

jhamtaTa takadhimi tadhigiNi tom endu

jhampe tALadi tumburanoppise

ga ma pa da sa ri endu dvaniyinda

nArada tumbura gAnava mADalu

nandiyu maddaLe chendadi hAkalu[1]

phaNava meTTi bAlava kaiyali piDidu phaLa phaLisutta

nATyavanADe chandra maNDaladante poLeyuva

mukhadoLu chalisuva neela kEshagaLADe kAlalanduge

gejje ghalu ghalu ghalurenuta uDi gejje ghaNTegaLADe

dushTa kALingana meTTi bharadinda puTTa pAdava iTTu

shrI krishNanu meTTidanu taka dhimi tadhikenuta[2]

suraru pushpada vrushTiya kareyalu sudatiyarellaru

pADalu nAga kannikeyaru nAthana bEDalu

nAnA vidhadi stuti mADalu rakkasarellaru

kakkasavane kaNDu dikku dikkugaLige Odal

chikkavanivanalla purandara viTTala vEnkaTaramaNa

bEga yashOde binkadoLetti muddADe shrI krishNana[3]

Meaning in Tamil

ஆடினானே காளிங்கமகுடம் மேல் அற்புத நடனம் ரங்கன்

பாடியவருக்கு வேண்டிய வரமளி கருணை புரி

மகிழ் நடனமாடும் வெண்ணெய் திருடும் கண்ணன்ஆடினானே

ஆம்பல்முளை அயனும் விண்ணவரும் கூடி விண்ணிலிருந்து

அவன்துதி பாட, ரம்பை ஊர்வசி அழகிகள் பலர்

ஜம் தட தகதிமி ததிங்கனதோம் என பரதம் ஆட,

ஜம்ப தாளமுடன் ரி என இசைகூட்ட, தும்புரு

நாரதன் கீதம் பாட, நந்தி மத்தளம் ஒலிக்கஆடினானே

நாக மகுடமேறி பாலன் ஊக்கமுடன் கைப் பிடித்து,

நடன இடம் நிலவொளி பொழிலென ஒளிக்க,

முகத்தில் அசையும் நீலமுடிசுருள்குழலுடன்

காற்சிலம்பு கணீர் கணீர் என ஒலி எழுப்ப,

மூட காளிங்கன் மேல் பளுவுடன் சிறு பாதங்களிட்டு

தக திமி ததிங்கிட என ……ஆடினானே

வின்னவர் பூமழை பொழிய எழிலயிறுடை பெண்டிர் பாட,

நாக கன்னியர் நாதனை வேண்டி நவவகை துதி பாட,

அரக்கர் குழாம் உமிழ்கழிவு கண்டென திக்கெட்டும் சிதறி ஓட,

ஆடியவன் சிறியவனல்ல புரந்தர விட்டல வேங்கட ரமணணே

ஓடிவந்து பெருமிதம் கோண்டு எடுத்தனைத்திடுவாய் யசோதா

The Dance of the Yuga* – A three dimensional view

(* Yuga – a Sanskrit term used to define a very large period of time spanning 1000s of years)

In the “Dvapara Yuga”, some say in 3228 BC an event happened on the banks of the River Yamuna in Mathura, a place near Delhi. This is about the dance of a little boy called Krishna. This is a dance with a difference – an young boy dances on top of a five headed King Cobra. The dance is called Kaliya Mardhan /Kaliya Daman in North of India and Kalinga Narthanam in South of India.

A Yuga later (in Kali Yuga) around the end of the 14th century and beginning of 15th century some one near Theerthahalli village in Shimoga Taluk in Karnataka broadly outlined the event through a composition in his native language Kannada.

In the middle of the subsequent century, another gentleman from Malayalam village Melpathur near Kurumbathoor in Mallapuram District of Kerala wrote a divine epic in Sanskrit language in a temple where it is is believed that the event was reproduced by the same boy who performed this act 5000 years ago. In that epic he wrote ten verses describing the entire event.

Two centuries later between 1700-1765, yet another one from a village in Oothukadu in Tanjore District of Tamil Nadu known for his compositions in Tamil, wrote in Sanskrit the way in which the boy danced.

In this current period we move to Chennai where we will witness one of the finest depiction of that dance (as envisaged by the man from Kurumbathoor in the fifteenth century) by a phenomenally talented and globally acclaimed lady.

The event is so imbibed in India’s culture that not a single year passes/will pass without someone somewhere in India celebrating that event through available medium of expression.

Now I will try to understand that immortal event through a series of blogs bringing out the three facets (3 dimensional) of the Indian Arts.

Only Three facets for Indian Arts ! I am not kidding. Well, I am just summarizing them into three categories like the Tamils of the Sangam era (300 BC – 200AD) viz, Iyal, Isai, Natakam (Prose/Literary, Music, Dance respectively).

The Literary description [ “Iyal – இயல் “] of the event

The gentleman from Theerthahalli is none other than Saint Purandara Dasa, the Grand Father(Pitamah) of Carnatic Music. he brings out in eloquent (yet even the ignorant can understand), the essence of the event in Kannada Language.

The gentleman from Kurumbathoor Village in his epic work called Narayaneeyam, devotes a set of ten verses (Slokas) to describe the event. Sri. Narayana Namboodhri called as Bhattathri brought Krishna from Mathura to every single home in south of India through his Naryaneeyam written in Sanskrit.

The works of these two great Saints drive devotion (Bhakti) through their works in a meta physical plane. It sets you thinking and appeals to the heart and soul of human beings through brain. I will try to understand these two works.

The Musical Description [ “Isai – இசை” ] of the event

Music in any language appeals to the heart and soul through the ears. This aural route requires that the lyricist/composer understands the nuances and brings out an integrated version of his thought processes about an event. An event like the dance of an young boy needs to be depicted taking into these factors.

The gentleman from Oothukadu who specialized in compositions in Tamil brought out a superb composition in Sanskrit about Krishna’s dance; ideally composed for the seamless integration of music with the dance movements. I will try and study the composition of Oothukadu Venkata Kavi.

The Dance [ “Natakam – நாடகம்” ] portrayal of the event

In this section we will watch three dance events. Dr. Padma Subramanyam is a living legend in the South Indian Form of Dance called Bharath Natyam. We will link with her depiction of the event as described by Bhattathri in Narayaneeyam.

Team led by Bhairavi Venkatesan of Sridevi Nrithalaya presents the dance as composed by Oothukadu Venkata Kavi.

The third dance by Janaki & Kalyani in Bharath Natyam style is for the composition by Purandara Dasa. This dance was performed at Guruvayur where Narayaneeyam was written.

These three dances are available in the social media. We will link up with them.These are just representative samples. Just type “Dances of India – Kaliya Daman”. You can view the dance in perhaps every single Indian Languages and in every type/style of Indian Dances like, Kathak, Manipuri, Kuchipudi etc.

Join me in my “3d” study of the Divine Dance.

Carnatic Musing 6 – Goddess Kamakshi – Shyama Sastri – Raga Punnaga Varali

Audio Link to the Song:

https://www.dropbox.com/s/ztdrfevd1d76wj0/MS%20Subbulakshmi-Kanaka%20Shaila%20Viharini-Punnagavarali-Adi-%20Shyama%20Shastri-RnqNVeG4Ocs.mp3?dl=0

Sanskrit Verses of the composition

पल्लवि

कनक शैल विहारिणि श्री

काम कोटि बाले सुशीले

अनुपल्लवि

वनज भव हरि नुते देवि

हिम गिरिजे ललिते सततं

विनतम् माम् परिपालय शङ्कर

वनिते सति महा त्रिपुर सुन्दरि (कनक)

कम्बु कण्ठि कञ्ज सदृश वदने

चरणम् 1

करि राज गमने मणि सदने

शम्बर विदारि तोषिणि शिव

शङ्करि सदा मधुर भाषिणि (कनक)

चरणम् 2

चण्ड मुण्ड खण्डन पण्डि(ते)क्षु

दण्ड कोदण्ड मण्डित पाणि

पुण्डरीक नय(ना)र्चित पदे त्रि-

पुर वासिनि शिवे हर विलासिनि (कनक)

चरणम् 3

श्याम(ळा)म्बिके भ(वा)ब्धि तरणे

श्याम कृष्ण परिपालिनि जननि

कामि(ता)र्थ फल दायिके

कामाक्षि सकल लोक साक्षि (कनक)

English Transliteration

pallavi

kanaka Saila vihAriNi SrI

kAma kOTi bAlE suSIlE

Anupallavi

vanaja bhava hari nutE dEvi

hima girijE lalitE satataM

vinatam mAm paripAlaya Sankara

vanitE sati mahA tripura sundari (kanaka)

kambu kaNThi kanja sadRSa vadanE

caraNam 1

kari rAja gamanE maNi sadanE

Sambara vidAri tOshiNi Siva

Sankari sadA madhura bhAshiNi (kanaka)

caNDa muNDa khaNDana paNDitE-ikshu

caraNam 2

daNDa kOdaNDa maNDita pANi

puNDarIka nayana-arcita padE tri-

pura vAsini SivE hara vilAsini (kanaka)

caraNam 3

SyAmaLA-ambikE bhava-abdhi taraNE

SyAma kRshNa paripAlini janani

kAmita-artha phala dAyikE

kAmAkshi sakala lOka sAkshi (kanaka)

Meaning of the Sanskrit words

Pallavi

कनक – golden

शैल – mountain

विहारिणि – resident

श्री काम कोटि बाले – daughter of Sri Kamakoti (Goddess Kamakshi of Kanchipuram)

सुशीले – oh virtuous

Anupallavi

वनज – lotus

भव – abide

हरि – Lord Vishnu

नुते – Lord Brahma

देवि – Goddess

हिम गिरिजे – daughter from the Himalayan Mountains

ललिते – Goddess Lalitha

सततं – always

विनतम् – extol

माम् – me

परिपालय – protect

शङ्कर – Lord Shankara (Siva)

वनिते – consort

सति महा – Oh great mother

त्रिपुरसुन्दरि – Goddess TripuraSundari (Durga)

CaraNam1

कम्बु – conch

कण्ठि – neck

कञ्ज – lotus

सदृश – like

वदने- face

करि – elephant

राज – king

गमने – gait

मणि – gems

सदने – resident

शम्बर – Demon Sambara (destroyed by Goddess Danu – daughter of Daksha

विदारि – destroy

तोषिणि – delight

शिव- Siva

शङ्करि – Sankari

सदा – always

मधुर – sweet

भाषिणि – speak

CaraNam 2

चण्ड – Demon Chanda

मुण्ड – Demon Munda

खण्डन – kill

पण्डि(ते)

क्षुदण्ड – sugar cane

कोदण्ड – bow

मण्डित – adorn

पाणि – hands

पुण्डरीक – lotus

नय(ना) – eyes

र्चित – worshipped

त्रि-पुर वासिनि – resident in three abodes (முப்புறம்) )

शिवे हर – Siva

विलासिनि – beloved

CaraNam 3

याम(ळा)म्बिके – Mother Shaymala

भवा – worldly existence

आब्धि – Ocean

तरणे – crossing

श्याम कृष्ण – Shyama Krishna pen name of sastry

परिपालिनि – protect

जननि – mother

कामित – desired

रर्थफल – worldly objects as fruits of action

दायिके – one who gives

कामाक्षि – Goddess Kamakshi

सकल – all

लोक – world

साक्षि – witness

Tamil Translation

பல்லவி

பொன்மலை வாசியே காஞ்சியின் தலைமகளே நற்குண நாயகியே

அனுபல்லவி

கமலம் உறை அயனும் மறைபொருள் மாயவனும் துதி தேவியே

மலைமகளே, எழிலே, எந்நேரமும் உன் புகழ்பாடும் எளியோனைக்

காப்பாய் சங்கரியே, அருள்மிகு அன்னையே, முப்புரத்தாளே

சரணம் 1

சங்குமிடறு கமலவதனமுடன் களிர் நடையுடையாளே

நவரத்தினமனை உறை, சாம்பரன் வதை, கயிலையன் மன மகிழ்,

சிவசங்கரியே எந்நேரமும் இன்சொல் உரை அன்னையே

சரணம் 2

சண்டமுண்ட அரக்கர் வதை தனித்திறனாளியே.

கரமதனில் கரும்புவில் கோலமுடன்

அரவணி ஆதியின் பிரிய நாயகியே

கமலவிழியன் வணங்கும் முப்புரத்தாளே

சரணம் 3

சியாமள அன்னையே இப்பிறவிப்பெருங்கடலைக் கடக்கவைப்பவளே

சியாமகிருஷ்ணனைக் காப்பவளே விழைபொருட்செல்வமளிப்பவளே

காமாட்சியே அனைத்துலகமதற்கும் சாட்சியே அன்னையே

Meaning in English

She is the principal lady of SrI kAma kOTi , resident of Himalaya ! Virtuous One!
dEvi is prayed by brahmA and vishNu! Mother lalitA – daughter of himalayas! Consort of Sankara! the great tripura sundari!
She is Conch necked! Lotus like faced! Her gait is Majestic like King Elephant! You reside in house of gems! Delighter of Siva! Siva Sankari! The mother who always speaks sweetly!
The expert who killed asuras caNDa and muNDa! whose hands hold sugar-cane bow! She whose feet have been worshipped by vishNu! resident in tri-pura! Beloved of Siva!
O SyAmaLA! You enable crossing the Ocean of Worldly Existence! protects SyAma kRshNa! kAmAkshi bestows desired Worldly objects! She is the Witness of all Worlds!

Carnatic Musing 4 – Lord Krishna – Purandara Dasa – Raga Sindhu Bhairavi

Audio Link to the Song:

https://www.dropbox.com/s/74utb93i26n3wsc/Venkatachala%20Nilayam%20I%20Rahul%20Vellal%20I%20Purandara%20Dasa-97K3UUH5kG8.mp3?dl=0

Sanskrit Composition

पल्लवि

वॆन्कटाचल निलयम् वैकुण्ठ पुरवासम्

पन्कज नॆत्रम् परम पवित्रम् श्न्क चक्रधर चिन्मय रूपम्

(वॆन्कटाचल)

चरणम् १

अम्बॊत्भव विनुतम् अगणित गुणनामम्

तुम्बुरु नारद गानविलॊलम्

अम्बुधि शयनम् आत्माभुरामम्

चरणम् २

पाहि पाण्डव पक्शम् कौरव मधरणम् बाहु

पराक्रम पूर्णम् अहल्या शाप भय निवारनम्

चरणम् ३

सकल वॆद विचारम् सर्व जीव निकरम्

मकर कुण्डलधर मदन गॊपालम्

भक्त पॊशक श्रि पुरन्दर विट्तलम्

English Transliteration

Pallavi

vEnkaTAcala nilayam vaikuNTha puravAsam

pankaja nEtram parama pavitram shankha cakradhara cinmaya rUpam (venkaTAcala).

CaraNam 1

ambujOtbhava vinutam agaNita guNanAmam

tumburu nArada gAnavilOlam ambudhi shayanam AtmAbhirAmam.

CaraNam 2

pAhi pANDava pakSam kaurava madaharaNam bAhu

parAkrama pUrNam ahalyA shApa bhaya nivAranam

CaraNam 3

sakala vEda vicAram sarva jIva nikaram

makara kuNDaladhara madana gOpAlam

bhakta pOSaka shrI purandara viTTalam

Meaning of the Sanskrit words

Pallavi

वें – sin

कटा – destroys

चल – hill

(The holy place of Tirupathi is referred here as Venkatachala)

व्निलयम् – dwelling

वैकुण्ठ पुर – the city of vaikuntham

वासम् – resident

पन्कज – lotus

नॆत्रम् – eyes

परम – absolute/supreme

पवित्रम् – purity/holy

श्न्क – conch

चक्रधर – discuss/disc

चिन्मय – pure thought

रूपम् – form

CaraNam 1

अम्भुज – lotus

उद्भव – prop from

(अम्बॊत्भव) (the person who comes out of the lotus)

विनुतम् – Lord Brahma

अगणित – countless

गुण – virtue

नामम् – name

तुम्बुरु – sage tumburu

नारद – sage naradha

गान – song

विलॊलम् – captivated

अम्बुधि – ocean

शयनम् – recline

आत्मा – soul

अभिरामम् – delightful

CaraNam 2

पाहि – protect

पाण्डव – Pandavas

पक्शम् – side of

कौरव – Kauravas

मध – pride

हरणम् – destroy

बहु – plenty

पराक्रम – valour

पूर्णम् – complete

अहल्या – Ahalya

शाप – curse

भय – fear

निवारनम् – relief/remove

CaraNam 3

सकल – every/all

वॆद – Vedha

विचारम् – enquiry

सर्व- all

जीवन – lives

करम् – anchor/creator

मकर – carp shaped

कुण्डल – ear rings

धर – wear

मदन – handsome

गॊपालम् – cow protector

भक्त – devotees

पॊशक – protect

श्रि पुरन्दर विट्तलम् – Purandara Vittala (pen name ofPurandara Dasa)

Composition in Tamil

பல்லவி

வேங்கடமலைவாழ் வைகுந்த நகர் வாசனே

கமலக்கண்ணனவன் ஒப்புயர்வற்ற புனிதனே

சங்கு சக்கரமுமடன் தூய எண்ணமுடை வடிவனே….வேங்கட

சரணம் 1

ஆம்பல்முளை அயன் வணங்கும்

எண்ணற்ற நற்பண்பின் களஞ்சியமே

தும்புரு நாரத முனி இசை மகிழும்

ஆழிதுயில் உள்ளம் மகிழும் …….வேங்கட

சரணம் 2

ஐவரை அணைத்து கவுரவரின் ஆணவமழித்து

வெகுபல வீரபேராண்மை உடை நிறையோனே

அகலிகையின் தடுப்பருஞ்சாபம் நீக்கோனே …..வேங்கட

சரணம் 3

மறைநூலின் உட்பொருள் ஆராயலாய்

அனைத்துயிரின் ஆதாரமாயும்

மகர குண்டலமணி அழகான ஆநிரைமேயோனே

பக்தர்களை காக்கும் புரந்தர விட்டலமே …..வேங்கடம

Meaning of the composition in English

I pray the

One whose dwelling is Tirupati, whose residence is the city of vaikuNTha, one whose eyes are like lotuses, one who is supremely pure, one who bears a conch and a discuss and whose form is that of pure thought,

One who is worshipped by brahmA ,one who is the storehouse of countless virtues, one who is captivated by the music of sages such as tumburu and nArada, one who reclines in the ocean and is delightful to the soul

Protect me Oh ! The one who took the side of the pANDavas, and one who destroyed of the pride of the kauravas, one who is complete with multiple types of valor/courage/heroism, one who is the cause of the removal of the fear of ahalyA’s curse

One who is the focus of deliberation of all the vEdas, one who is the anchor/creator of all life forms, one who is madana gOpAla, wearing carp-shaped earrings, one who is SrI purandara viTThala, the protector/nourisher of his devotees

Composition in Kannada

Carnatic Musing 3 – Universal God – Sadasiva Brahmendra – Raga Madhuvanthi

Audio Link to the Song:

https://www.dropbox.com/s/329rw6g0f2y63ud/Sarvam%20Brahma%20mayam%20%20By%20sadavsiva%20brambendraaih%20%20Brothers1-BjztyfYsJbM.mp3?dl=0

Sanskrit Verses of the Composition

Pallavi

सर्वं ब्रह्ममयं रे रे

चरणं १

किं वचनीयं किमवचनीयं

किं रसनीयं किमरसनीयम् ……सर्वं

चरणं २

किं पठनीयं किमपठनीयं

किं भजनीयं किमभजनीयम् …..सर्वं

चरणं ३

किं बोद्धव्यं किमबोद्धव्यं

किं भोक्तव्यं किमभोक्तव्यम् (सर्वं..)

चरणं ४

सर्वत्र सदा हंस ध्यानं

कर्तव्यं भो मुक्ति-निदानम् (सर्वं..)

English Transliteration

pallavi

sarvam brahmamayam rE rE

CaraNam 1

kim vacanIyam kima vacanIyam

kim racanIyam kima racanIyam …..sarvam

caraNam 2

kim paThanIyam kima paThanIyam

kim bhajanIyam kima bhajanIyam …….sarvam

CaraNam 3

kim bOddhavyam kima bOddhavyam

kim bhOktavyam kima bhOktavyam …….sarvam

CaraNam 4

sarvatra sadA hamsa dhyAnam

kArtavyam bhO mukti nidAnam

Meaning of the Sanskrit words

Pallavi

सर्वं – everything/all

ब्रह् – The Absolute (God)

ममयं – belongs/consists

CaraNam

किं – what

वचनीयं – spoken

अवचनीयं – unspoken

रसनीयं – tasty/palatable

अरसनीयं – unpalatable

पठनीयं – fit to study/learn

अपठनीयं – unfit to study/learn

भजनीयं – to be revered/prayed

अभजनीयं – not to pray/sing

बोद्धव्यं – to be taught

अबोद्धव्यं – not to be taught

भोक्तव्यं – to be possessed/enjoyed

अभोक्तव्यं – not to be possessed/enjoyed

सर्वत्र – everywhere

सदा – continually

हंस – soul/spirit/god

ध्यानं – meditate

कर्तव्यं – duty

भो – that only

मुक्ति- salvation

निदानम् – primary cause

Meaning in Tamil

பல்லவி

அனைத்தும் ஆண்டவன் அனைத்திலும் ஆண்டவன்

சரணம் 1

சொல்லும் சொல்லாத சொல்லும்

உகந்ததும் ஒப்பாததும்….அனைத்தும்

சரணம் 2

கற்பதும் கல்லாததும்

மதிப்பதும் மதியாததும்…….அனைத்தும்

சரணம் 3

கற்பிப்பதும் புகட்டாதனவும்

அனுபவிப்பதும் அடையாதனவும் ……அனைத்தும்

சரணம் 4

எங்கும் எப்பொழுதும் இறைதுதி பணி ஒன்றே

பேரின்பவீடு அடைய மூலகாரணமன்றோ ……அனைத்தும்

Carnatic Musings

In my “blogging journey” so far, the focus is on Spirituality and Travel. In this journey there is one vital companion of mine, about whom I did not write anything and I just took “him/her” for granted. I always assumed that this companion can’t be separated from me and will always be with me in my soul satisfying pursuit as an integral part of myself. But having gone through the spiritual hymns that defined “I” in my previous blogs, it is quite natural for me to detach this integral companion and look at him/her a bit closely.

The result of this detached look is this Category of my blog. CARNATIC MUSINGS.

In this Category the soul of several compositions in Sanskrit will be looked at and the meaning they provide will be absorbed and presented in Tamil. The Tamil meaning provided is by no means in a musically tunable form. It is just an expression of my limited vocabulary in Tamil. To begin with, the blogs will cover a song each from the Trinity of Carnatic Music. Subsequently, Readers/Viewers requests will be given priority. May I request your indulgence? You can send your request through mail or comment. The request should be about Carnatic Music Compositions.

Once again a word of CAUTION: “I” am not a specialist in Music; neither do “I” know to sing nor “I” know the “Sastra” of any music leave alone Carnatic Music. The only connection that “I” have is that undefinable relationship that a Cobra has when the Snake Charmer plays his tune in front of it with his “Magudi/Pungi” (Wind Instrument).

Note: For those who are brand new to Carnatic Music, I would recommend adequate “googling” like me. The blogs here will not able to be of any assistance. My apologies.

I intend to begin the blogs in this category from June onwards.