KURUMBINILUM ORU EZHIL THONRUM - MANIDHAN MARAVILLAI

THAAMADHAM THAGADHAYYA - LALGUDI GOPALA IYER

Thamadam thagadhayya lyrics
iyaRRiyavar: laalguti V.R. gOpaala aiyar
raagam: mOhanakalyaaNi
thaaLam: aathi

pallavi:
thaamatham thakaathayyaa
thayaaparaa thuNai murukayyaa

anupallavi:
thaamasa guna thInanaana
thamayEnai aaLa tharunamithayyaa

charaNam:
maalum ayan kaanaa mahaathEvan main-thaa
maatu' vaLLi thEvamaatu' makil' kaNta
vElum mayilum ennaaLum ennaik kaakkavE
vEkamaaga vaarum varam thaarum

VARUVAI VARAM THARUVAI - SANJAY - DORAISWAMY KAVIRAYAR

V.SRIRAM WRITES:

DURAISWAMY KAVIRAYAR

Doraswami Kavirayar, referred to here after as Kavi, was born on 15th August 1867, at Muthu Vinayagar Street, George Town Madras. His father was Samiappa Kavirayar, a poet of merit in the retinue of Pathai Sriramulu Chetty, a dubash of the East India Company. It is said that Samiappa Kavirayar did not have children for long and so he prayed often at the Karukkatha Amman Temple at Spurtank. 

One night the goddess appeared in his dream and promised him a son the next day. And so it proved. At the time of his birth, the patron Sriramulu Chetty declared that the prosperity of the times owed itself to the Dorai (the Englishman) and Swami (God). He was therefore named Doraswami. There is no record of Doraiswami having a mother or of Samiappa kavirayar having married. Indeed, we must attribute Kavi’s birth to a miracle.

Kavi was found to be completely disinclined towards learning and this was a sorrow to his father, who in true Carnatic tradition was fated to pass away when Kavi was merely five. Thereafter, Kavi was brought up by his father’s patron, who lavished his best attention on the boy but to no avail. One day, Sriramulu Chetty expressed his frustration by remarking “solla solla varamaattengude” (despite repeated telling, he wont learn). 

That was the turning point. Doraswami Kavi ran away to the Tiruporur Murugan temple where he spent the night. Lord Muruga appeared in his dream and wrote on his tongue. When he woke up, he found he had become a poet. Thereafter he had to only open his mouth and poetry poured forth. His first creation is said to be Solla Solla (now sung in Behag).

Eschewing material wealth, for he realised that to be remembered by posterity he had to be poor, Kavi spurned all offers of patronage. He became an itinerant poet, visiting temples. One day he arrived at Kozhipidichanpalayam to see a crowd. A man had fallen into a well and was declared dead. Immediately he sang innum parAmukham (now sung in bEgaDa) and the man bounced back to health.

Kavi’s talents came to the notice of the Zamindar of Eppodumtolvi who demanded that Kavi sing in his (Zamindar’s praise). This was sternly refused, whereupon the Zamindar ordered the Kavi’s arrest. In prison Kavi sang Harahara Sankara (now sung in Mukhari). That very night the Zamindar had severe stomach ache and realised his folly. He ordered the release of Kavi and honoured him with todas and shawls.

Kavi was particularly attached to Dandayudhapani, the deity of Palani and sang several songs in His praise. Kavi was also referred to as Kaliyuga Dandayudhapani as he wore only a loincloth and carried a staff. Kavi was tall, with a bright forehead that always sported the sacred ash. He had a broad chest and there was effulgence about him. It is not known if he had six pack abs.

Now that all the important details of his life have been covered, we need to document his end, which like that of most Carnatic composers, is inordinately well-recorded. In his last years Kavi came under the patronage of the Governor of Madras, ME Grant Duff. This was by way of a ball of butter to be left at his doorstep every morning. One day he was given a vision and sang kathirvaDivEla (now sung in Jayantashree).

 It is likely that he had a premonition of his passing thereafter and really looked forward to it. But then God delayed His arrival and exasperated with this, Kavi embarked on innum enna Ezhai mEl. It is said that during the singing of this song, God appeared on a peacock and danced before him and vanished at the end of every verse and reappeared only if he composed yet another. That is why this song has a slow pallavi and four fast-paced caraNams. At the end of it, there was a burst of light and Kavi shuffled off his mortal coil. From the heavens came the singing of a mangaLam (saravaNa), which was quickly noted down by the Governor of Madras, ME Grant Duff. On his return to England, the Governor named his estate Doraiswamipuram, which is now known as Dorsey.

There has of late been a persistent rumour that the place where Doraiswami Kavirayar shuffled off suffered a severe subsidence thereafter and necessitated the construction of a subway known as the Doraiswami Subway. But we vehemently state that there is no truth in this.

A week after his passing, Kavi appeared in a dream to Raja Sir Annamalai Chettiar. This was interpreted as a command that his songs be set to music. The task was entrusted to VS Gomathisankara Iyer who notated them. A contemporary historian however states that he has seen notated songs of Doraswami Kavi in the notebooks of Durguniammal, the hereditary Devadasi of Adigaprasangiamman temple. He is of the view that the first attempt at notation was by one Kosapettai Iramasami Nattuvanar.

A good Professor from the past, who got a lot of anecdotes converted into fact has opined that Doraiswami Kavirayar, along with Pallavi Doraiswami Iyer and Puliyur Doraiswami Iyer can be collectively termed the Doraitrayam or the Doraiswami Trinity of Carnatic Music.

NB: This is an unofficial biography and its factual accuracy is suspect at best. You could call it a stub. Caveat Emptor. But it is entirely suitable to make it to University textbooks.

ADHI SAID:

No account of Kavi’s life is complete without a graphical description of the famous contest between Doraiswami Kavi and visiting vidvan Upamaka Urubhanga Kavi in the presence of Eppodumtolvi where he composed on the spot his famous “Sodikka vandayo” (now sung in Athana) and defeated the visiting vidwan. I am somewhat disappointed that the biographer left out this important detail.

http://sriramv.wordpress.com/2012/12/08/doraiswami-kavirayar/

SALAKKU SALAKKU SELAI - SEMBARUTHI

CLASSICAL ILAIYARAAJA -1

 Recently, I watched the movie 'Chembaruthi' on video. One of those unethical, "kuppai" screen printed video cassette, you know, that gives you a vision like that of a "soda-butti" watching TV without his spectacles! Illayaraja has done a fantastic job in that movie. Though I had heared all those songs many times while I was in India, watching that movie created a reminiscent train of thoughts in my mind, about Illayaraja, his music, the dramatic change he brought about in Thamizh cinema.

I thought that it would be worthwhile to discuss his music, particularly the CLASSICAL aspect! I am aware that it is not possible to write about all his carnatic oriented songs, about how he has handled those ragas, how he has deviated from the classical style etc. But it would definitely be interesting to pour out our ideas once in a while in a random order of the ragas covered by him. In "Chembaruthi" there are six songs, out of which 4 are carnatic based. All the songs were "sooper hits". To a guy who knows carnatic music, the ragas are explicit, and to a non-classical rasika, they are just great tunes! This was one of his specialities, to give the raga in almost good shape and also make a good cinema tune out of it. And ofcourse, the rhythm should give scope for good dance movements so that the hero and heroine could share their love by dancing!

Maybe, many of his tunes have to be branded as semi-classical or light music (even though the raga form might be pure) only because of this rhythm factor. "Chalakku Chalakku Selai" is one good number in chakravaagam. There is no impurity in the tune (like any anniya swaram). He has confined to classical 16th, Sa Ri1 Ga3 Ma1 Pa Da2 Ni2 Sa. Ofcourse, not to mention, that the lyrics is very bad, fighting to degrade the song from semi-classical to light music. In the charanam the heroine says "kalyaanam aagama paay poda venam, ennala aagaathu aamaam". You know, some good heroines with morality do say such deterrant, anti pre-marital sex things to the always advancing heroes!

 Illayaraja has only few chakravaagams in his account. In the janya raagas of chakravaagam, he has excellent numbers. Like, Malayamaarutham.... Sa Ri1 Ga3 Pa Da2 Ni2 Sa, Sa Ni2 Da2 Pa Ga3 Ri1 Sa. His first malayamarutham came as a pleasant surprise in Sridhar's movie (for whom he always had a soft corner) "Thenralae ennai thodu". I distinctly remember how the 'Ananda Vikatan' magazine wrote in glowing terms about "kannmani nee vara kathirun- then" song in malayamaarutham. Yesudoss and Uma Ramanan had done a wonderful job in that song. Ga Pa Da Sa Ni Da Pa Da Pa Ga, Ga Pa Ga Sa Sa Ri. What a wonderful start! The sharp rishabam gave a beautiful colour to this song. Maybe Illayaraja's first malayamaarutham was "poojakaana neram" in "kaadal ovium. That was a good song too.

Dheepan chakravarthi had struggled to keep in pace with that tune (like some violinists get into trouble with Sesha- gopalan's pace!). Then came "Thendral vanthu muthamittathu" in malayamaarutham in "Oru odai nadiyagirathu"(another sridhar's movie). Gosh! That was a fast song too. Krishnachandar and S.P.Shailaja tried their best, but probably spoiled it. Particularly, S.P.Shailaja has sung like the shrill sound you hear when you apply the breaks on a car that you bought for 500 $! There are two other songs in which he has deleted both Ni and Ma in chakravaagam. I don't think that such a raga exists in carnatic music with any known name. Those two songs are "amudhae thamizhae" (kovil pura), and "nila kuyilae" (magudi). They are simply excellent. One should be an artist and play those songs to know their quality.

 Amudhae thamizhae starts like Sa Ri Ga,Sa Ri Ga, Sa Ri Ga Pa Ga Ri Sa, Sa Ri Sa Da Sa...Pulamai Pithan's lyrics glorified that song. In the charanam he says, if you listen to and speak Thamizh, " Oon mezhugai urugum, athil ulagam karainthu pogum", such is the beauty of this language! One cannot write any better,about the greatness of Thamizh language. (Those people like Thamizh vendan & co, who have no other job other than inundating the S.C.T with meaningless news about Thamizh Ezham, now, have a point!). I vaguely remember a song "naan irrukka bayam etharku" (kuva kuva vathukkal?) At that time, when I had primitive carnatic music knowledge, I had diagnosed that song as "Valaji" (Rishabam deleted in Malayamarutham, Sa Ga Pa Da Ni Sa, Sa Ni Da Pa Ga Sa, you can say that it is a janyam of chakravaagam too, eventhough theorists might say 'janyam of Harikambodi'). Maybe, that song is indeed Valaji.

Illayaraja has few songs in Revathi, another 16 janyam. Perhaps the best onces are "sangitha jaathi mullai" (kaadal ovium) and "kanavu onru thonruthe" (oru odai nadiyaagirathu). But I personally feel that MSV's melodious use of Revathi is unparalleled in the song "manthira punnagai" (Manal kayiru). So much about chakravaagam and its janyams and Illayaraja. In chembaruthi, two of the 4 carnatic songs, are in Sindu Bhairavi raagam. They are "kadalile ezhumbura alaikalai" and "kaadhalile tholvi". Illayaraja himself has sung the former ( thso, thso rendition ) and Nagoor Hanifa the latter. Both these songs are excellent Sindu Bhairavi's. One in three of all cinema songs are in Sindu Bhairavi scale (one of the commonest cinema melodies, like the 20th mela Natabhairavi). Illayaraja has innumerable songs in Sindhu Bhairavi, a variegated population from valai osai kalakala ena to shenbagame, shenbagame etc. One cannot list all of them. But, probably MSV's Unnakenna Mele Ninrai (Simla Special) is the best of Sindhu Bhairavi.

In "kadalile ezhumbura" the lyrics is unusually good. Probably, muthulingam or whoever was the lyrisict, had a strong tea before writing that song! That song goes to tell the pathetic life of fishermen. The lyrisict says in pallavi "kadal thaneer karikudu kaaranam irukkudu, meenavar vidugira viyarvaikal kadalile kalakudu..." (Sea water is saline because of 's fishermen's sweat). Good idea, ain't it? Lastly,there is one song in Kaapi raaam in Chembaruthi: chembaruthi poalae (after decades, Banumathi Ramakrishna sang a tail piece of this song). His other Kaapi are ada maapila (maapilai), hei paadal onru (priya). As far as I know Illayaraja is the only one who used kaapi in cinema. All of them are good.

He starts 'ada maapila' like, Ma Ga3 Ga3 Ma Pa, Pa Ma Ga3 Ma Ni2 Pa Ga2 Ri Sa Ni3 Sa Sa. Wonderful start! To start kaapi in madhyamam and use its key phrase 'Ga3 Ma Ni2 Pa Ga2 Ri Sa Ni3' at the very beginning is an excellent approach to the tune. This is one of the instance in which his classical 'vidwat' was manifest. Even 'chembaruthi poale' he uses the bashangam of kaapi, in the very beginning, like, 'Pa NI2 Ma Pa Ni3 Sa'. Why did he choose to score tune in kaapi for both these above situations in which the bride and the groom are humoured by the 'thozhan' and 'thozhiyar' on the occasion of their betrothal. Is their any definite pattern that he follows in scoring tunes for situation? Maybe.

 -Lakshminarayanan Srirangam Ramakrishnan. Department of Vision of Science, The University of Houston College of Optometry, Houston, Tx 77204.

SINDHU NADHI KARAI - NALLADHORU KUDUMBAM

சிந்து நதிக்கரையோரம் 

அந்தி நேரம்

எந்தன் தேவன் ஆடினான்

தமிழ் கீதம் பாடினான்

எனைப்  பூவைப் போல சூடினான்

சிந்து நதிக்கரையோரம்

அந்தி நேரம்

எந்தன் தேவி ஆடினாள்

தமிழ் கீதம் பாடினாள்

எனைப் பூவைப் போல சூடினாள் 

மஞ்சள் மலர்ப் பஞ்சணைகள்

மன்மதனின் மந்திரங்கள்

கொஞ்சும் குயில் மெல்லிசைகள்

கோதை எந்தன் சீர்வரிசை

சொல்லிக் கொடுத்தேன் கதை கதை

அள்ளிக் கொடுத்தாய் அதை அதை

காதல் கண்ணம்மா 

தெள்ளுத் தமிழ் சிலம்புகளை

அள்ளி அவள் அணிந்து கொண்டாள்

கள்ளிருக்கும் கூந்தலுக்கு

முல்லை மலர் நான் கொடுத்தேன்

வானவெளியில் நிதம் நிதம் (இதம் இதம் )

சோலை வெளியில்  சுகம் சுகம்

காதல் மன்னவா 

சிந்து நதிக்கரையோரம்

அந்தி நேரம்..

DEVA SABHA THALAM - HIS HIGHNESS ABDULLAH

HINDOLAM, TODI, PANTHUVARALI, ABHOGI, MOHANAM, SHANMUKA PRIYA, KALYANI, CHAKRAVAHAM,  REVATHI.

SADHA SADHA UNNAI - RAMANA MALAI

SONG STARTS @15:50

சதா சதா உன்னை நினைந்து நினைந்து

உன்னில் கலந்திடவே அருள்வாய் ரமணா 

சதா சலித்துச்சளைத்த மனதினிலே

சதாசிவா என்றுனை  ஓர் நொடிப்பொழுதும் இடைவிடாது 

சதா சதா உன்னை நினைந்து நினைந்து

உன்னில் கலந்திடவே அருள்வாய் ரமணா 

காம க்ரோத மத மாச்சரியமும் 

என்னை விட்டு விலகிடவும்

சாம கான திருவாசகம் 

என் நாவில் துலங்கிடவும் 

நின் திருமலர்ப் பதம் 

என் சிரமதில் திகழ்ந்திட 

குருவருள் துணைவர

திருவருள் தனைப்பெற 

சதா சதா உன்னை நினைந்து நினைந்து

உன்னில் கலந்திடவே அருள்வாய் ரமணா 

அதா இதா எனச்சென்றது எத்தனை ஆலயங்கள்

இதா அதா  எனச்சொன்னது எத்தனை மந்திரங்கள் 

ஆழியின் அலை போல அலைதனில் நுரை போல

அலைந்து அலைந்து மனம் கலைந்து குலைந்து

நிலை கலங்கி தினம் தவிக்குதே 

தொலைவினில் தெரிந்திடும் கலங்கரை விளக்கே 

அருகினில் ஒளி வீசு நீ இருக்கும் கரை சேர 

சதா சதா உன்னை நினைந்து நினைந்து

உன்னில் கலந்திடவே அருள்வாய் ரமணா 

சதா சலித்துச்சளைத்த மனதினிலே

சதாசிவா என்றுனை  ஓர் நொடிப்பொழுதும் இடைவிடாது

ANBU MALARGALIN - KANNUKKU MAI EZHUDHU

MOUNAM NAANAM - MAYURI

The main melody by spb and janaki is in hamsadwani while the interludes have shankarabharanam, kaanada and kapi. It is interesting to note the swarajathi and thillana interspersed in the song goes well with the story of a dancer  while the western instruments and music depict the romantic situation.

Mayuri (film)

From Wikipedia, the free encyclopedia

Mayuri
Directed by	Singeetam Srinivasa Rao
Produced by	Ramoji Rao
Written by	Singeetam Srinivasa Rao, Ganesh Patro
Starring	Sudha Chandran Subhakar P. L. Narayana Nirmalamma Potti Prasad K. K. Sharma S. R. Raju Suthi Veerabhadra Rao Y. Vijaya
Music by	S.P. Balasubrahmanyam
Release date(s)	1984
Running time	142 minutes
Country	India
Language	Telugu

Mayuri (Telugu: మయూరి) is a 1984 Telugu film produced by Ramoji Rao, and directed by Singeetam Srinivasa Rao. It was dubbed into Malayalamand (Tamil) as Mayoori and remade as Naache Mayuri in 1986 in Hindi. The movie starred Sudha Chandran, Subhakar, P. L. Narayana, Nirmalamma,Y. Vijaya, Potti Prasad, K. K. Sharma, S. R. Raju and Suthi Veerabhadra Rao. This film is based on the real life story of Sudha Chandran.

Contents   [hide]  1 Plot 2 Cast 3 Awards 4 External links

[edit]Plot

The protagonist (Sudha Chandran) loses her leg in an accident and fights her way back as a dancer with artificial limb.

[edit]Cast

Actor/Actress	Character
Sudha Chandran	Mayuri
Sudhakar	Mohan
P. L. Narayana	Father of Mayuri
Nirmalamma	Grandmother of Mayuri
Subbaraju
Y. Vijaya	Step mother of Mayuri
Chakri Toleti	Step brother of Mayuri
Suthi Veerabhadra Rao
Potti Prasad

[edit]Awards

• National Film Award – Special Jury Award / Special Mention (Feature Film) for Sudha Chandran in 1986.
• The film won the Nandi Award for Best Feature Film from Government of Andhra Pradesh in 1985.
• The film won the Nandi Award for Best Music Director and Playback Singer to S.P. Balasubrahmanyam in 1985.

http://cinemanrityagharana.blogspot.in/2010/02/film-thoughts-nache-mayuri-1986-hindi.html

Film Thoughts: Nache Mayuri (1986, Hindi – Sudha Chandran)

Nache Mayuri is a 1986 Hindi movie starring and based upon the real life of Sudha Chandran, a talented classical Bharatanatyam dancer who in 1981 survived a car crash that required her right leg to be amputated. Despite the enormous setback, she was able to get a prosthetic lower leg and continued to pursue her passion for dance. The film is a remake of the 1984 Telugu original, Mayuri.

It’s quite the story and perhaps one tailor-made for the movies. Despite the inspirational nature of the true story and the respect Sudha should be given, I thought the movie was not as great as I expected. First, I expected to see gobs and gobs of classical dancing with carnatic music and live musicians- you know, the real deal. In reality, the film features a handful of short scenes of Sudha dancing classically (or watching others dance) informally off-stage, and the longer on-stage dance songs in the film are of the “filmified” classical variety accompanied by Lata Mangeshkar belting out ear-piercing modern Hindi tunes. The performances were not "real" Bharatanatyam/Kuchipudi as I thought they would be. When there was actual classical/carnatic music used, it was presented devotionally and there was no dancing! During a scene of angst, I kept hoping Mayuri would dance with her crutches like Sandhya in Jal Bin Macchli Nritya Bin Bijli! The long dance sequences in the film were sweet enough and full of fun, kitschy costumes, but I was expecting more. According to the intro credits, Gopi Krishna choreographed all the dance sequences.

That said, the short sequences where Sudha dances on her own show her incredible gracefulness and joy. She is one of those dancers whose love for the art form is clearly visible. It’s unbelievable how well she dances with a prosthetic leg! While she can’t do the half-seated Araimandi position, of course, she does twists, turns, and even puts all her weight on her prosthetic foot at times. Her ghungroos ring equally well on both feet. If someone didn't know she had a prosthetic leg I doubt they would be able to notice it in her performances in the first half. I didn't know which foot was fake when I first watched it and couldn't figure it out! Of course, after I learned it was her right foot, the stiffness became quite obvious. Imagine the amount of practice it would take to execute these moves and not fall flat on one's face! I tried imagining having to place weight and pivot on an object that cannot be felt by your senses- what immense effort it would take.

In addition to the lack of quality classical dancing, the other problem is that the film has an over-the-top, melodramatic feel to it. All emotions are marked by dramatic swellings of orchestral strings and nothing is subtle. There were so many dialogue-heavy scenes between characters, and since I was watching a VCD from Induna I had no subtitles to help me and ended up fast forwarding through a lot of the talky parts (which ended up being quite humorous as VCDs speed up voices into chipmunk mode when you FF, I learned!).

I felt like the film spent too much time on characters talking to each other; rather, it needed more realism and backstory to show us Mayuri practicing and improving her dance skills and how she slowly built her status and popularity (rather than “poof! she’s a superstar!”). There were some laughable scenes such as the implausible car crash, fiery stage accident, and the mother's constant irritation with everything. The second half of the film, however, did a fairly good job of focusing on how much anguish she felt in her condition and showing us how she slowly endured physical therapy and increased the complexity of her dance to finally be able to use her leg normally. I just wish more time had been spent showing us how she became such a great danseuse.

As to the plot, here's a little summary and some screencaps I took:

Mayuri (Sudha Chandran) is a young woman who falls in love with classical dancing after seeing others perform the art.





However, Mayuri's mother is extremely upset that her daughter is showing interest in dance. In the past, a family member had become a popular dancer who was tragically killed when a fire broke out on stage during a performance (in a very WTFey sequence).


Mayuri can't stop following her passion though and discovers a local dance class through a male classmate who encourages her to follow her passion, and they fall in love.





When the mother finds out Mayuri is actually dancing and performing, she continues to freak out, spew verbal tirades (as she does through most of the film) and even stabs herself in the stomach at one point (but don’t worry, in the next scene she’s good as new!). She is determined to get Mayuri’s marriage fixed but Mayuri won’t have it! As Mayuri continues to dance, we see suddenly that she’s become quite the dancing superstar with attention from the national press.

But her success only lasts so long; after a terrible car accident while in her boyfriend's car, Mayuri wakes up and is horrified to find her right leg has been amputated below the knee.



On top of that, she later finds out her boyfriend is seeing another girl, and her mom continues to be an irritating nutbag. Mayuri, depressed and full of angst, lets her frustrations out in a song of devotion (or perhaps anger?) to Nataraj. She's got a sorry lot in life at this point!



Things begin to look brighter when Mayuri learns of a new prosethic leg device. Her initial experience with it is incredibly difficult and painful (one grossout scene shows her leg squirting blood after she dances vigorously), but a later model made with the latest technology is more comfortable and allows her to flex the foot and bend the toes a bit.



After much practice, she is able to regain her ability to dance and ends the film with a stage performance that leaves the entire audience in tears. Though my favorite part was when her sorry excuse for a boyfriend comes crawling back to her at the end and she ignores him, dancing blissfully in her house as he tries to get her attention behind the window, in vain. You go girl!





In doing research on Sudha Chandran, I had no idea she has been very popular since this film released. She continues to act in TV serials and films and was a contestant (dancing with her prosthetic leg) on the Indian version of Dancing with the Stars (Jhalak Dikhla Ja). Her full story can be found over at the Disability India Network. It's obvious from that article that the pain she was shown to experience in the film was drawn from her actual experience.

So overall, I thought the film was a wonderful, inspiring story but simply didn't do full justice to its source material.

Here are some YouTube videos of the film:

Sudha's stage performance before she has the accident. Unless you knew beforehand her right leg was fake, it would be difficult to tell!
{Start at 1:48}



A very short segment of classical dance practice:


Mayuri's end performance with her prosthetic leg clearly visible:

GIRIRAJA SUTHA - L.VAIDYANATHAN L.SUBRAMANIAM L.SHANKAR

giriraaja suthaa 
raagam: bangaaLa 

29 dheera shankaraabharaNam janya
Aa: S R2 G3 M1 P M1 R2 P S
Av: S N3 P M1 R2 G3 R2 S

taaLam: dEshaadi
Composer: Tyaagaraaja 
Language: Telugu

pallavi

giirirAja sutA tanaya sadaya

anupallavi

suranAtha mukhArcita pAdayuga paripAlaya mAm ibha rAjamukha

caraNam

gaNanAtha parAtpara shankarAgama vArinidhi rajanIkara phaNirAja
kankaNa vighna nivArana shAmbhava shrI tyAgarAjanuta

---

Meaning:
One with feet worshipped by Indra and others! Grant me grace and protect me. O Elephant faced one. Chief of the celestial spirits. O ParAtparA! Bestower of auspiciousness. O moon of the ocean of Vedas. One who wears AdisEsha as a bracelet. Remover of impediments. O son of Shiva. One worshipped by Tyagaraja!

---

Notation:
Notation file available in English here.

---

Other information:
Lyrics contributed by Lakshman Ragde. Meaning and notation from Compositions of Tyagaraja by TK Govinda Rao.

ANATHUDANU GANU - THYAGARAJA

http://www.youtube.com/watch?v=dUj9exM-pF8
Song: anaathuDanu gaanu

---

anaathuDanu gaanu
raagam: jingala

20 naTabhairavi janya
Aa: S R2 G2 M1 P D1 N2 D1 P S
Av: S N2 D1 P M1 G2 R2 S

taaLam: aadi
Composer: Tyaagaraaja
Language: Telugu

pallavi

anAthuDanu gAnu; rAma nE!
(anAthuDanu)

anupallavi

anAthuDavu nIvani niga majnyula sanAtanula mATa vinnAnu; nE
(anAthuDanu)

caraNam

nirAdaravu jUci, yI kali narAdhamulanEru
purANapuruSa! purAripunuta! nAgarATshayana! tyAgarAjanuta!
(anAthuDanu)

---

Meaning:
O Rama! I am not an orphan (as you are taking care of me) In a way you are that (since there is none to take care of you and none above you to command you), that is what I have heard from wise men well versed in vedas Silly folks, in their ignorance, call me a destitute because I do not have any human support. O Purana Purusha! One worshipped by Shiva! One who reclines on Adishesha! (where is the need for any support when you have taken me into your fold!)

VIDAJALADURA - THYAGARAJA

http://www.esnips.com/displayimage.php?album=1306089&pid=10209549

Song: viDajaaladuraa - Click to listen (Shivkumar Kalyanaraman)!

---

viDajaaladhuraa 
raagam: janaranjani 

29 dheera shankaraabharaNam janya
Aa: S R2 G3 M1 P D2 N3 S
Av: S D2 P M1 R2 S

taaLam: aadi
Composer: Tyaagaraaja
Language: Telugu

pallavi

viDajAladurA nA manasu vinarA

anupallavi

aDiyAsalacE dagili nE nArtipaDinA padambulanu

caraNam

tanu vEpanulaku canina mari kana rAnidi kanugoninA
ninuga bhAvinci santasilliti shrI tyAgarAjanuta

http://www.karnatik.com/c2929.shtml

Ragam: Janaranjani (29 janya)

ARO: S R G M P D P N S                  ||

AVA: S D P M R S               ||

Talam: Adi

Tyagaraja

Version: Hyderabad Brothers

Pallavi:

Vidajaaladuraa Naa Manasu Vinaraa

Anupallavi:

Adiyaasalache Dagili Ne

Naarthi Badi Naa Padambulanu

Charanam:

Tanu Ve Panulaku Chani Naa Mari

Kanaraanidi Kanukonina

Ninnugaa Bhaavinchi Santasilliti

Sri Tyaagaraaja Vinuta

Meaning: (From T.K. Govinda Rao’s book):

Listen my Lord, to this assurance of mine. My mind may be tossed about violently by despicable desires causing emanciation of my body, but it will never let go its hold of your sacred feet. Whatever the tasks I engage in, whatever the sights that confront me, however disagreeable, I regard them all without repugnance as your dispensation, O God worshipped by Tyaagaraja

Pallavi:

Vidajaaladuraa Naa Manasu Vinaraa

D P         N ;                ; ;                SD                | P ;                ; pm                R - G                M P                ||

Vida       jaa-                - -                ladu        raa-         - Naa-                -   Ma               na su

D P         pnsr                ; ;                SD                | P ;                ; pm                R - G                M P                ||

Vida       jaa-                - -                ladu        raa-         - Naa-                -   Ma               na su

D P         PN                ; ;                srgm               | R ;                sd pm                R - G                M P                ||

Vida       jaa-                - -                la-du-     raa-         Naa- -               -   Ma               na su

mdP pm R ;                ; S                ; ;                | ; ;                ; pm                R - G                M P                ||

Vi-na-    raa-                - -                - -             -              -Naa-                -     Ma               na su

D P         PN                ; ;                srgm               | R ;                sd pm                R - G                M P                ||

Vida       jaa-                - -                la-du-     raa-         Naa- -               -   Ma               na su

mdP pm R ;                ; S                ; ;                | srgm               pm R                S ;                rgmp               ||

Vi-na-    raa-                - -                - -             - - -         - - -                - -                -- - -

D P         mpdp               nsrs               srgm               | R ;                sd pm                R - G                M P                ||

Vida       jaa-                - -                la-du-     raa-         Naa- -               -   Ma               na su

mdP pm R ;                ; S                ; ;                | srgm               pm R                S ;                rgmp               ||

Vi-na-    raa-                - -                - -             - - -         - - -                - -                -- - -

mdP pm R ;                ; S                ; ;                | ; ;                mdpm                R - G                M P                ||

Vi-na-    raa-                - -                - -             - - -         Naa- -               -   Ma               na su

mdP pm R ;                ; S                ; ;                | ; ;                sdpm                R - G                M P                ||

Vi-na-    raa-                - -                - -             - - -         Naa- -               -   Ma               na su

mdP pm R ;                ; S                ; ;                | ; ;                ; ;                ; ;                ; ;                ||

Vi-na-    raa-                - -                - -             - - -         - -                - -                - -

Anupallavi:

Adiyaasalache Dagili Ne

Naarthi Badi Naa Padambulanu
 

S R         G ;                ; ;                M R                | S ;                ; ;                ; ;                ; ;                ||

Adi         yaa-               - -                sala         che         - -               - -                - -

S R         G ;                ; ;                M R                | S ;                ; D               P M                P N                ||

Adi         yaa-               - -                sala         che         - Da               gi li                Ne-

S R         G ;                srgm                pm R                | S ;                ; D               P M                P N                ||

Adi         yaa-               - -                sa- la      che         - Da               gi li                Ne-

D P         ; pr                S D                D P                | ; md                pmR                ; G                M P                ||

Naa-       -rthi-               Badi                Naa-       - Pa-       dam--               - bu               la nu

Charanam:

Tanu Ve Panulaku Chani Naa Mari

Kanaraanidi Kanukonina

Ninnugaa Bhaavinchi Santasilliti

Sri Tyaagaraaja Vinuta

P P         P ;                ; ;                pm R                | G M                  dppm               R ;                , s S                 ||

Tanu       Ve-               - -                Pa- nu      la ku    Cha-ni-   Naa-       Mari

S R         G ;                ; ;                , m R                | ;  s r               , g M                P ;                ; ;                ||             

Kana       raa-                - -                - nidi          Kanu      - koni               na-                - -

P P         P ;                ; ;                pm R                | G M                  dppm               R ;                , s S                 ||

Tanu       Ve-               - -                Pa- nu      la ku    Cha-ni-   Naa-       Mari

S R         G ;                ; ;                , m R                | ;  s r               , g M                P ;                 srgm               ||             

Kana       raa-                - -                - nidi          Kanu      - koni               na-                - -

S R         G ;                ; M                , R ,                 | S ;                ; ;                ; ;                ; ;                ||

Ninnu     gaa                - Bhaa               - vin          chi-        - -                - -                - -

S R         G ;                ; M                , R ,                 | S ;                ; D               P M                P N                ||

Ninnu     gaa                - Bhaa               - vin          chi-        - San               ta sil               li ti

S R         G ;                srgm                pm R                | S ;                ; D               P M                P N                ||

Ninnu     gaa                Bhaa-               vin- -        chi-        - San               ta sil               li ti

D P         ; pr                S D                D P                | ; md                pmR                ; G                M P                ||

Sri-         - Tyaa               -  -                ga-            - raa-      - - -                - ja                nu ta