Ananthakodi Namaskarams to Mahaperiyava on his Birthday

Ananthakodi Namaskarams to Mahaperiyava on his Birthday
Om Kanchi Vaasaya Vidmahe
Shantha Roopaya Dheemahi
Thanno Chandrasekarendra Prachothayath

Kriti : Enna Perum Thavam (Composition dedicated to Kanchi Mahaperiyava, Shri Chandrasekharendra Saraswathy Swamigal)
Ragam : Sahana
Talam : Adi
Vageyyakkara : Sri Periasami Thooran

(The above video is a recording sung by the inimitable MS Amma)

Pallavi:

Enna Perum Thavam Yaam SeidhathariyeneEnnayum Kanchi Muni Aatkonda thensolven (Enna)

(I cannot express and dont know what great penance I did, for Kanchi Acharya to accept me)

Anu Pallavi:

Munnam oraalin keezh monamai kaii kaattee Sonnadhai vaai malarnthey, solli arul seyya (Enna)

(In those days, he used to sit underneath a banyan tree, without speaking but blessing with his hands and he spoke those blessings through words and what big penance did I do to hear those words)

Charanam:

Nadamaadum deivamai naam potra vandhavarNanilathor uyya thava yogam kondavarVidayerum punniyar vadivam bhagawath padarMeendum vandhaar avar men malar thaaL potra (Enna)

(He is a God who walks with us, who was given to us to appreciate; He became a sage to protect us; The noble Bhagawath Padar (Govindha Bhagawath Pada), has arrived again and lets bow at his soft flower like feet)

https://www.youtube.com/watch?v=8Wa2GYIofY4

VIOLIN CONCERT @ TIRUVĀRŪR

Śri Kāñci Kāmakōṭi Karnāṭaka Saṅgīta Sēvā Trust has been organising the Saṇgīta Mūmūrtigaḷ Jayanti Isai Vizha for the past 26 years. I felt honoured to perform in this festival on April 18th 2010 not only because it was organised by the KKKSS Trust but also because this festival was conducted in the very house in which Śri Syāmā Śāstri was born. Besides my concert, my visit to Tiruvārūr was a musical pilgrimage, since I had the good fortune of having a darśan of the houses of the Trinity – Saint Tyāgarāja, Śri Muṭṭusvāmi Dīkśitar and Śri Śyāmā Śāstri.



House of Saint Tyāgarāja



House of Śri Muṭṭusvāmi Dīkśitar



House of Śri Śyāmā Śāstri



Śri Śyāmā Śāstri's handwriting


My accompanists for the concert were
Śri. Krishnamachari - Mridaṅgam
Śri. Ravikrishnan – Ghaṭam
Śri. Vadapathimangalam M. Venkataramani - Ganjīra



Songlist

Mūlādhāramūrti – Hamsadhvani – Ādi – Pāpanāsam Śivan
Kañcadaḷāyadākśi – Kamalāmanōhari – Ādi – Muṭṭusvāmi Dīkśitar
Īntakannānandamēmi – Bilahari – Rūpakam – Tyāgarāja Svāmi
Māyamma – Āhiri – Ādi – Śyāmā Śāstri
Ninnuvina – Navarasakannada – Rūpakam – Tyāgarāja Svāmi
Śri Kāntimatim – Dēśi Simhāravam – Ādi – Muṭṭusvāmi Dīkśitar
Annapūrnē – Śāma – Ādi – Muṭṭusvāmi Dīkśitar
Kurai Ondrum Illai – Ragamālika – Ādi – C. Rājagōpālachari
Madhubanu – Madhuvanti – Eka – Sūrdās

Svāmi Omkārānanda's Lecture

Svāmi Omkārānanda

Recently I attended a lecture on the Gīta & Tirukkuraḷ by Svāmi Ōmkārānanda. It was quite an elevating experience. Before I go into the details of the lecture, a few words about Svāmiji. Svāmi Ōmkārānanda was born in a traditional vedic family. He learnt vēdās at a very early age. In his early twenties, greatly inspired by the teachings of Svāmi Vivekānanda, he joined Rāmakṛṣṇa Tapōvanam at Tirupparaiturai and was given Sanyāsa Dīksha by Svāmi Chidbhavānanda Maharāj in 1985.

He studied Vēdānta under Svāmi Paramārthānanda, disciple of Svāmi Dayānanda Sarasvati. On completion of his studies he founded the “Sri Svāmi Chidbhavānanda Ashramam” at Theni.

Sri Svāmiji has succeeded H.H. Sri Sri Sānthananda Svāmigaḷ of Sri Sri Judge Svāmigaḷ Adhiśtāṇam, popularly known as Sri Bhuvanēśvari Avadūta Vidyā Pīṭham, at Pudukōttai.

Svāmi Ōmkārānanda is an authority of the Vēdānta and is an erudite scholar of Sanskrit and Tamil. He quotes verses in Tamil and Sanskrit with remarkable accuracy and ease. He greatness lies in his ability to simplify even the most complex topics of Vēdānta. This, combined with his delicate sense of humour and wit make his lectures exceptional.

In the lecture, Svāmiji spoke about the Gīta and the Tirukkuraḷ – on the similarity of ideas & concepts contained in these 2 texts. The lecture itself was well –structured and was based on 3 key concepts –

1. “Definition” of God
2. Mode of worship and
3. The benefits that one would derive out of worship.

Svāmiji elaborated these concepts using references from the Tirukkural, Gīta, songs of Tāyumāṇavar, Bhārathiyār etc. Svāmiji defines God as the Absolute Being who has to be worshipped with total faith (as opposed to blind faith). He said that the result that the Bhaktā would derive is Self- confidence.

The lecture was interspersed with Svamigaḷ’s renowned wit and humour. For example he made a distinction between a Tattvam and Mahātattvam.

Tattvam – is when a concept is expounded by a speaker with understanding, but is not understood by the audience.

Mahātattvam – is when a concept is expounder by a speaker, but neither the speaker nor the audience understand it ☺

On the whole an enjoyable and thought provoking talk.

Remembering Semmangudi Mama – My Guru and God: Part 3

Saṅgīta Pitāmahā Padma Vibhūshan Dr. Semmangudi Srinivasa Iyer

I will pen my experiences as the Siśya of  Semmangudi Mama in this post. At the outset, I thank God for blessing me with the great fortune of having such a Legend as my Guru. I am also forever thankful to my Guru – Semmangudi Mama for accepting Lalitha and myself as his Siśya-s and to have enlightened us on the glory and greatness of Karṇāṭaka Saṅgītam.

We greatly cherish the days that we spent learning from Mama. Semmangudi Mama was a very warm and affectionate Guru. His music was so very inspiring and has borne a great influence on us and our musical thinking. He was a legend – a towering personality yet so very approachable. He would teach us anything that we asked for. Once, my uncle Dr. L. Subramaniam remarked that he had heard Semmangudi Mama sing the Varnam – Sami Ninne in Ānandabhairavi beautifully. This inspired us to ask mama to teach us this varnam. He readily agreed to teach us this varnam – a composition of veenai Kuppier. Learning this varnam from Semmangudi Mama was a beautiful experience by itself.  He was a perfectionist and was specific about every svaram, anusvaram, its gamaka et al. He was also very specific that at every instance the beauty of the raga and sahitya surfaced in the rendition.

We learnt several beautiful compositions from mama including O Rangaśāyi, Śri Subramanyāya Namaste, Dwaitamu Sukhama, Janani, Narasimha Māmava, Paṅkaja Lōcana, Śri Rāmam, Śānthamu Lēkha, Tanayuni Brōva, Śri Kṛṣṇam, Kadanuvāriki, Padavini, Mākelarā ……….. et al.

Every musical phrase sung by him would seem very simple, but had a greater depth and meaning embedded in it. Only by actually singing can we realise the amount of effort that has to be put in to achieve the desired result. It was definitely not easy. Mama was a perfectionist who saw to it that we reproduced even an anusvaram in the right manner. This actually speaks volumes of his dedication to music. He actually lived – breathed music. If we sang well, he would treat us with palā cuḷai- jackfruit from his own garden !

Mama was a strict diciplinarian. He wanted us to memorise the sāhitya before he began teaching us the composition. If he was going to commence a new composition, he would give us the sāhitya the previous day and ask us to memorise it before class the next day. This greatly helped us to concentrate on the  bhāvam and musical aspects while actually learning the composition. After we had learnt the composition thoroughly he would give us the notation – never before ! His notations were all handwritten and precise. (It looked like print – there were very neat J ). He had several notebooks containing handwritten notations of several thousands of compositions. They were shelved in an orderly fashion  and I always wondered how Mama exactly remembered the particular shelf and book which contained the notation of a specific song ! He had such a fantastic memory.

I recall an incident, which happened when Mama was ill and was hospitalised. Lalitha and I had gone to visit Mama in the hospital. He was surrounded by family, friends and well-wishers. The moment he saw us his eyes lit up and he asked us “Enna pādam solli irukkēn ? Pādam acchā ?” (What lesson have I taught you ? Have you practised it ?) He also said that we could resume lessons soon. Such was his love for Saṅgītam.

(A cherished moment - when Laitha and I were receiving the Mohanam Award for the Outstanding Performing Artistes of 1991 from Semmangudi Mama. Aslo in the picture is Sri Maharajapuram Santhanam, yet another stalwart of Carnatic Music.)

One day after our lessons Lalitha and I requested Mama to sing for us an Ālapanai of Nārāyaṇagauḷa. Mama immediately obliged. Oh what an amazing experience ! It was an experience of a lifetime. There were just the three of us Mama, Lalitha and myself. Lalitha and I completely lost ourselves in the charm of Narayanagaula …. sung by the Sangita Pitamaha. The way that he brought the Raga svarūpa was simply matchless. His singing only made us yearn for more ! There were many such days that we spent listening to the glorious music of Mama.

He also used to share with us annecdotes of great musicians of yesteryears. We loved to hear stories of the past from Mama – in his inimitable witty style.  He never missed the evening news of All India Radio, and we would resume singing at the end of the broadcast. There were times when the lessons continued well into the late evenings and Mama would make it a point to tell us to telephone to him as soon as we got back home—just to ensure that we had reached home safely. Such was his affection. He was a very concerned and considerate Guru.

He was the perfect Guru that one could wish for. To my sister Lalitha and myself he is not only our Guru but also  remains a grand-fatherly figure. I truly miss him a lot. My humble namaskārams to him and I seek his blessings for ever. 

Remembering Semmangudi Mama – My Guru and God: Part 2

Sangita Pitamaha Padma Vibhushan 

Dr. Semmangudi Srinivasa Iyer

Coming to the story of how Lalitha and myself became the Sishya-s of Semmangudi Mama- for a long time we nurtured a deep desire to learn from Mama, but were hesitant to approach him since we felt that it was “Pērāśai”.

On one of our visits, along with our Amma, Smt. Subbulakshmi Muthuswamy who was his disciple, the inevitable happened ! Amma started introducing us but before she could finish he said `Teriyumē, Lalitha – Nandini, ippa kūda radiovila ivālōḍa katchēriyai kēṭṭen, rōmba nannā vāsikara, nalla vāsippu, nalla vazhi, Katcheri illada nāllila enkita anuppu, nan āvāḷukku sollitharēn’. (I know, Lalitha and Nandini, recently I heard their concert in the Radio and was very impressed, they play very well and have a good tradition, send them to me for advanced lessons when they are free).

We were speechless, shocked beyond words…it was unbelievable (even as I re-live those moments now, it is unbelievable… what a great blessing !) ….we wanted to ask him to accept us as his Sishya-s and lo ! even before we could ask he said that he would teach us. What a blessing, this is the greatness of Mama. But we soon gathered ourselves together to thank him and say that we would be would definitely come since it is a great blessing for us. We wanted to utilize this good fortune and started lessons with Mama immediately. He started lessons with the kriti “Mahā Gaṇapathē” in the Rāgā Naṭanārayaṇi.

As his sishya-s Lalitha and I had plenty of opportunities to listen, observe and imbibe his music from close quarters. As a musician Semmangudi Mama was a towering personality. His music was “The Ultimate”….there is so much for any musician to learn from him. His music is the perfect blend of all that you aspire or seek in Karnāṭaka Saṅgītam. (No wonder he is respected by one and all as the Pitāmahā of Karṅāṭaka Saṅgītam)

For instance if we take his Rāgā Ālāpanai-s, they are filled with rāga bhāvam but yet at the same time they are innovative, replete with unexpected sancārā-s that would immediately elicit a “sabāsh” from an listener. He was a master in portraying a complete picture of the raga irrespective of whether he sang it for 3 minutes or 15 minutes. Filled with long kārvai-s as well as subtle nuances (nagāsu vēlai), they are totally mesmerizing. He would slowly build up a rāga upto a climax – which would leave one yearning for more. He was a daring innovator as well. He invested life into rāgā-s such as Shanmugapriya and Hemavati, which have found a more prominent place in the Carnātic Katcheri after Mama’s handling of these ragas.

His rendering of kriti-s is an aesthetic experience by itself. His renditions were finely chiselled gems and possessed a remarkable sophistication. The sangati-s were built gradually – never more than what was necessary. Mama would always say “Saṅgatiya pōṭṭu tinikka kūḍādu”. Kriti-s like Agastīśvaram – Lalitha, Janani – Rītigauḷa, Amba Nīlayadakśi – Nīlāmbari, Śri Rāmam – Nārāyaṇagauḷa, Dwaitamusukhamā – Rītigauḷa, O Raṅgasāyi – Kāmbhōji , Dēva Dēva – Māyāmāḷavagauḷa et al bear his indelible stamp and have become synonymous with Mama. He has also set to tune several compositions of Sadāśiva Brahmendra, Nārāyaṇa Tīrtha. He has also set to tune Tirukkural Kriti-s. 

His Niraval & Kalpana Svara-s were free flowing and bear testimony to his creative genius. I often wonder how he could have such a wide manōdharma . He maintained a structure here as well. Initially they were simple filled with kārvai-s and then slowly increased in complexity, filled with brigā-s and other niceties. His singing of the niraval in madhyamakālam is a sheer joy, perfect in every sense. His niraval for “Śyāma Krishna Sahōdari” in Amba Kāmākśi is a personal favourite of mine. His long kārvai at “Śyāma Krishna Sahōdari in tārasthāyi rishabam is simply breathtaking. His Kalpana Svaram for Janani – initially with small āvarthanam –s and gradually building up in length, using the characteristic sancara-s of rītigauḷa is so typical of his style. In the madhyamakāla svaram-s his repetitive usage of the svara-s “grs” has an electrifying effect. His niraval and kalpanasvaram for Jātarūpa in “Dēva Dēva” have always left me yearning for more. There are several other favourites of mine, but then the list would be endless :)

There is always a sense of proportion and balance in his concerts. Whatever he sang, whether it was a rāga ālāpanai or kriti or niraval or kalpanasvaram or tānam – he knew the right aḷavu that had to be sung. There was so much of discipline in his singing. His style was truly majestic filled with azhutam, bhāvam & shuddham – values that ought to be emulated.

I realise that this post is quite long. The next part of this post on Semmangudi Mama will contain my personal experiences with him as a Siśya. I sign off with a video of Mama singing “Teliyalēru Rāma” – Dhēnuka in his inimitable style. Enjoy :)

Remembering Semmangudi Mama – My Guru and God: Part 1

Sangita Pitamaha Padma Vibhushan 

Dr. Semmangudi Srinivasa Iyer

Today is the birth anniversary of Sangita Pitamaha Sri Semmangudi Srinivasa Iyer. As I sat sipping a cup of hot orange tea this afternoon listening to Semmangudi Mama’s awesome “Ksheenamai” in Mukhari, my thoughts went back to the memorable experiences that my sister Lalitha and I have had with this great doyen of Carnatic Music. I thought that penning my experiences with mama would be an apt tribute to this music legend on his birth anniversary, hence this post on a day that will be fondly remembered by all aficionados of Karnāṭaka Saṅgītam .

My earliest memories of Semmangudi Mama, was listening to his LP’s that were played often at home. Listening to his “Dēva Dēva” – Māyāmāḷavagauḷa with an exhilarating Niraval at “Jātha Rūpa” and the majestic “Ō Raṅga Śāyi” in Kāmbhoji, were firmly etched in my mind, even in my childhood days. I never dreamed that in future I would be fortunate to learn the very same Ō Raṅga Śāyi from none other than mama himself ! (I thank my Sathguru for having blessed me with this wonderful opportunity in life, which I will treasure forever)

My mother, Smt. Subbulakshmi Muthuswamy was a disciple of Semmangudi Mama. We lived in the same street as mama did – Lloyds Lane in Madras, and she would frequent his house for learning from him. She would take Lalitha and me along with her to visit mama, especially on Vijayadasami. I vividly remember going to Mama’s house and entering the huge inviting hall with walls lined with photos of great musical doyens of yesteryears like Ariyakudi, Musiri amidst the photos of Sri Sathya Sai Baba and Raghavendra Svami. As soon as we entered mama’s face would light up and he would joyfully say “Vango , Vango”. My mother would always tell us about the greatness of her Guru and his music and all the compositions- Kamalāmba Navāvarnam, Navagraha Krithi-s of Śri Muthusvāmi Dikśitar et al, that she learnt from him. So even at a young age I was fill with awe, reverence and last but not the least, a lot of affection for this great persona – whom I regarded as my grandfather.

To Lalitha and myself Semmangudi Mama (as we would call him) was like our own grand-father. My grand father Sri V. Lakshminarayana Iyer was a good friend of his and he would always talk about him. He would start of saying that “uṅga thāthāvum nānaum rōmba friends.” He would always refer to my father Sri. K. Muthuswamy as “Māpiḷḷai” – son – in – law. My parents would often take us to listen to Mama’s Kutcheri’s . Today as I turn back to nostalgically remember those golden days, I feel blessed to have grown up listening to the magical music of Semmangudi Mama.

As we grew up we realised the great phenomenon that was Semmangudi mama. When we learnt to appreciate the fine subtleties, nuances and greatness of his music and a sense of awe set on thinking that we had the opportunity of closely associating with him and to be his sishya!

Well how did Lalitha and myself end up as his Sishya-s ? I will write more in my next post, meanwhile here is a fantastic rendition of Marivērē Gati of Syāmā Śāstri by Semmangudi Mama in Ānandabhairavi….. enjoy :)

(Please note: This was an earlier post written to commemorate the Birth Anniversary of Sri Semmangudi Srinivasa Iyer on July 25th)

Sathguru Śri Śāntānanda Svāmigal

                   

Sathguru Śri Śāntānanda Svāmigal

Gurōrādi Anādischa

Guruh Parama Daivatam


Gurōh Parataram Nāsti


Tasmai Śri Guravē Namaha

"The Guru has neither beginning nor end; the Guru is the ultimate God (in the visible form). There is nothing beyond this Guru principle, and I salute such a Guru."

My humble obeisance at the Lotus Feet of my beloved Sathguru Sri Santhananda Swamigal, who is the greatest of the Avadhoota Saints of our times. He is India’s Spiritual Gift to the World. Described variedly as a Siddha Purusha, Maha Yogi and a Brahma Gnyaani, Sri Swamigal is a Divine Incarnate who traversed this world and continues to live amongst us even today, in his Sukskma Shariram or Invisible form. Sathguru Sri Santhananda Swamigal has been a torchbearer of Hinduism and its glorious traditions. A fountainhead of infinite love, compassion and grace, Sathguru Sri Santhananda Swamigal, has been a source of benevolence and solace to many. He has selflessly strived to alleviate the pains and sufferings of Humanity. A keen upholder of the Hindu Dharma, Sri Sathguru Santhananda Swamigal is revered as the very avathar or manifestation of Goddess Bhuvaneshwari, the Universal Mother. He has toiled untiringly to spread peace and happiness in this world.

Countless are the miracles of Sri Swamigal. He, through His Divine will, has miraculously transformed the lives of many. There are countless souls who are the beneficiaries of his grace and munificence. The very embodiment of Santham and Anandam i.e. Peace and Bliss, Sathguru Sri Santhananda Swamigal, is a Living God and a Guiding Spirit to all those who seek refuge at his Lotus Feet.

Sāntam Tāntam Tapōniśṭam Śāntānanda Gurutvaham
Namāmi Yaminām Srēśṭam Avadhūta Mahaniśam
Satgurūm Dyāyāmi Sarvadēva Kṛtāvāsam
Sarvalōka Namaskṛtam Kṛupāvatāram Lōkēsyā Avadhūtam Upāsmahē

To know more, please visit 

http://santhananda.blogspot.com/ 

http://www.skandasramam.com/