MMI Remembrance Day programme on 29th Jan 2012

I attended this programme organised at the Residence of Shri.Venu Sunder. At the very outset, thanks for Mr.Venugopal/Venu sundar arranging such a wonderful programme. I also attended some of this earlier programmes. Kudos to the team, Never ever heard this for any other artist...Great.

It was well arranged and fortunate to listen to some experiences of yesteryear rasikas, besides the evergreen music of Shri MMI. Lunch was also served.

Being Jan 29th, we could listen to Shri MMIs Shanmukapriya RT followed by pallavi “MahAtmA maNi vazhi nadappOm....”. Jan 30th being MahAtma’s remeberance day, it was an apt pallavi chosen by the organisers to play.

Some of the interesting experiences shared in the programme:

Mr.K.K.Ganapathy who runs “ Bharatiya Music Circle in Mumbai shared his experience:

“I have long association with Shri MMI at the age of 13. At the age of 13, MMI started his first “unofficial” concert in some place of Kerala. When Harikesannallur (HMB) gave a discourse on that day, he asked MMI to sing one kriti and latter rendered with “rA rA mA inti (asAveri of T) with breathtaking swarAs. There was no looking back after this.

In one concert, pAlakkad mani Iyer was about to accompany, but he could not come so, local mridangist was arranged. MMI took “meenakshi memudam” purvikalyAni kriti of MD. While giving neraval in “madhurApuri nilaye, maNi valayE”, he rendered as “maNi vallayE” (means mani did not come)”

Another one at Shanmugananda at Mumbai - MMI had to perform on Oct 1 and MLV on Oct 2. He taught MLV the pallavi “mahatma... “ and asked her to sing on oct 2^. MLV had another Guru on that day !!!

Another octogeneraian got up and he shared his experience.

“When “gAna kalA dharA” award was given, rasikas at that time, thought (even now), he should have been given “ghandarva gAna kalA dharA”

He was giving a concert in Sai bAbA temple in mylApore. The concert started at 10.30 and ended at 3 AM. He rendered 4 kritis. One of them was “sukhi evvaro” in kAnadA. Next day, when this person went to office, there was no speech, only communication of kAnadA swarAs. (even now, some of us can render these swarAs without adequate experience in CM,,, immortal).

MMI gives lot of importance to sruti. If any tambura problem, he patiently adjusts, even if takes half an hour..”

Shri.Venugopal said referring one of the Ghatam Artist of yesterdays, while singing “kandan karunai puriyum” famous kriti in Bhimplas, in the last line “annai parAshakti arul sudar vel”, the Ghatam artist, throws the Ghatam in the air (as done at the end of tani)”. A real bliss.

Truly an incident to cherish for scores of rasikas like me who even now enjoy his “impeccable” music. Listening Kritis, like kAmbodhi- mA janaki, purvikalyAni-Jnanamu segaradha and RTP Shanmugapriya, were never tiresome/boring despite that I have listened many times.

Returning my home, I was thinking what was so special about MMI to connect to Jan 30th, MahAtma’s remembrance day, the answer was

Both of them had a clear vision-“ to reach their message to the ricksawallah”

With the pallavis (RTP) of today stooped to such a low level, we could not stop thinking MMI rendered the pallavi “MahAtma” on 30^th Jan 1948 in some place. Long live Maestro !!!!!

Copy Paste - Part II

Sri Narayana Theerthar

Sri Narayana Theerthar is well known for his Krishna Leela Tharangini. He is believed as reincarnation of Sri Jaya Deva.

He belonged to Telugu smartha Brahmin family who settled down at Thanjavoor district during the time of Vijayanagar kings. His father’s name was Neelakanta Sasthri and mother’s name was Parvathi.
He attained high proficiency in Telugu and Sanskrit at a young age. He used to study Bhagavatham and sing ashtapathis of Jaya Deva. His parents initiated him in grihasthasrama at the appropriate age. Narayana Theertha loved his wife very much.

Strange are the Lord’s ways when he decides to win over a devotee. An incident took place in Narayana Theertha’s life also similar to Thulsidas’s life.

Once there was heavy rain and Narayan Theertha’s wife was at her father’s house. He had a desire to see her and to spend the night with her. He had to cross the river Vennar to go to his in law’s house. He plunged into the river and started swimming, but when he was at the mid stream there was a sudden surge in the water and he was carried away in the floods. Though he tried his best to fight back the current, it was too difficult for him. He was afraid that he could not save his life. Being a spiritual person he suddenly remembered that there was only one way to save his life. He remembered Bhagavad Pada Sri Adi Sankara’s life in which he took aapath sanyasam to save himself from the clutches of the crocodile. He decided to try his luck by adopting the same method. Accordingly he discarded his sacred thread and plucked off a handful of hair from his head ( as a token of shaving his head) and recited the relevant manthras and virtually became a sanyasi. A few moments later to his great relief the current and the flood subsided. He resumed swimming and reached the bank of the river safely.

Now he was caught in a dilemma and his inner voice started questioning him. Sanyasashram forbids family life and the pleasures of family life was still lingering in him. He began to argue with his mind. “Why not I go to my father in law’s house and enjoy the bliss of family life with my wife? After all besides me no one knows that I have taken aapath sanyasam.”

Though his conscience was pricking him he could not control his passion. His legs without expecting his order carried him to his father in law’s house.

As usual his in laws welcomed him heartily. Then his wife came out from her room. She was an embodiment of chastity and virtue. When she saw him he appeared to her not his usual self, but a mahapurush and she witnessed a halo around his head. His face looked radiant and resplendent.

He went with her to their room. When he tried to touch her she resisted and fell at his feet.

She said, “Swami! I sense something unusual when I see you. I feel some mystery surrounds you. Please tell me what happened today. I never had this kind of feeling before.”

Narayana Theertha was quite startled to hear these words from his wife. He felt ashamed and confessed the truth and revealed the incident that made him to take maanasika aapath sanyasam. Though she was sad to hear this she told him that he should abide to the vow he had made. Her parents also came to know this and they become grief stricken for their daughter. But all being spiritually enlightened people had to put up with reality.

Consequently Narayana Theertha decided to lead a regular sanyasi’s life. Later he was initiated in sanyasashram through a guru called Sivaramananda Theertha. After that following the custom of a newly ordained sanyasi, he took leave of his relatives and went on thirtha yathra. After visiting many holy places in the north he came to Andhra Desa and stayed there for a long time. While he was staying at Krishna district he composed songs in praise of Sri Vedadri Narasimhaswami, the presiding Deity of Chillakallu near Vijayawada.

Later he was suffering from severe stomach pain and he went to Tirupathi to get cured with the grace of Lord of seven hills. As he reached the foot of the hill he heard a Divine voice saying, “You will not get cured here for your ailment, and you must go to a temple near Thiruvaiyaru where my idol has already gone.” Hence Narayana Theertha started his journey towards Thiruvaiyaru.

Prior to the advent of Narayana Thirtha a sanyasi had left with the Idols of Venkatachalapathi and ubaya Nachiyars towards south to save the Idols from the invasion of muslim rulers. This incident had happened after the battle of Talaikotta.

The sanyasi stayed at different places offering puja to the Lord wherever he stayed and at last came to a place called Boopathirajapuram now known as Varahur. As usual here also after offering puja he tried to lift the Idols to resume his journey.

But Lo! The Idols got rooted to the ground and would not move.
Presently he heard a Divine voice telling, “Do not try to move me. I want to stay here.” Hence the sanyasi stayed there doing puja to Venkatachalapathi until he attained mukthi. Even now at Varahur the same Idols are worshiped.

Narayana Theertha came to a hamlet called Nadukkaveri at the bank of the River Kaveri. As the night approached he slept at a Ganesh temple. In his dream Lord Venkatachalapathi appeared and told him,” Tomorrow morning after you complete your morning ablutions a white boar will appear before you. You follow that boar and it will lead you to a temple where you will be cured of your stomach pain.”

Next morning Narayana Theertha woke up, took bath and offered puja to Lord Vigneswara. To his astonishment a white boar had appeared from nowhere and Lord Vigneswara was pointing him to follow the boar. The boar started moving towards western side leading to Boopathirajapuram. Even now we can see Lord Vignesswara’s fingers pointing towards that direction.

Narayana Theertha followed the animal nearly for 4 kilo meters and finally the boar reached the Venkatachalapathi temple and just entered the temple and disappeared from sight. Narayana Theertha entered the temple and after having darshan of Lord Venkatachalapathi, he was relieved of his stomach pain instantly. He thanked and praised the Lord for guiding him to reach His abode through His incarnation of Varaha. From then onwards Boopathirajapuram was called Varahapuri and later on the name changed to Varahur. Varahur is located at 15 miles northwest to Thanjavur.

Being an ardent devotee of Lord Krishna and well versed with Bhagavada puranam Narayana Theertha started composing Krishna Leela tharangini while he was in Krishna district. He completed it at Varahur. Krishna Leela Tharangini starts with the birth of Lord Krishna and ends with Rukmani Kalyanam. Narayana Theertha had taught the songs and abinaya also to his disciples. It is in the form of dance drama and enacted by dance troops.

Narayana Theertha used to celebrate Sri Krishna Jayanthi at the temple in a grand manner during his life time. He had become old and stayed there for two to three years only. He entered into a pit in Jeeva Samadhi on the Sukla Ashtami Krittika day of the Masi month at Thirppunturutti village. A mango tree under which he used to sit and meditate during his last days is in front of the Samadhi and is spreading its branches over it offering shade to the Samadhi.

Besides Krishna Leela Tharangini Narayana Theertha had written a dance drama “Parijathapaharana.” Similar to Jayadeva’s Ashtapathi, Krishna Leela Tharangini is also sung by devotees during bajanothchavams of Radha Kalyanam and Sita Kalyanam.

Paahi Paahi Jaganmohana Krishna

Paramaananda Sri Krishna

Paalitha Narayana Theertha Krishna

Parama Paavana Sri Krishna!

♫♫♫♫♫♫♫♫♫♫

COPY PASTE - PART 1

A young girl and her father were on a pilgrimage. When they reached the temple of Shiva, her father said, “Lets collect bilva leaves and dhatura flowers and offer them to Shiva to show our devotion.” This is what the father and daughter did. Then, they reached a Vishnu temple, and her father said, “Lets collect tulsi leaves and offer it to Vishnu to show our devotion.” This is what the father and daughter did. Then they reached a Ganesha temple. On the father’s advice, the daughter offered blades of grass. At the temple of the Kali, the daughter was told to offer neem leaves and lemons. At the temple of Hanuman, she offered sesame oil.

The daughter was confused, “You say all gods are actually one.” “Yes,” the father confirmed. “Then why different offerings to different gods?” “Because,” said the father, “Each form is different and different forms need to be told the same thing in different ways. Each time we have expressed our devotion but the vehicle of communication has changed depending on the preferences of the recipient. That is why: the wild bilva and poisonous dhatura for the hermit Shiva, the fragrant tulsi for the romantic Vishnu, the rapidly regenerating grass for Ganesha who was resurrected with an elephant head, the sour lemon and bitter neem for Kali who consumes all things, negativity included, and sesame for Hanuman, the mighty wrestler, feared even by death.”

Often we want to communicate an idea to our customers. But we do not pay adequate attention to the method of communication. The method chosen should be the function of the customer. Different customers need different methods. But most corporations find the idea of customizing methods of communication rather inefficient. So they try to come up with an efficient standard method of communication, often at the cost of effectiveness.

Vishal had learnt in a training workshop the value of an ‘elevator speech’ to express his idea to a customer in less than a minute. He had used it many times. But it never had the desired effect – an appointment with the client. He wondered why. His colleague who had greater success with the elevator speech asked him over a cup of coffee, “In which language was the elevator speech for Mr. Masand?” English, said Vishal. “But you and I both know Mr. Masand prefers speaking in Hindi.”

At that moment the penny dropped. While speaking to the customer, Vishal was focusing on what he wanted to communicate and not on how it was received by the customer. Communication is not so much about the idea but about the customer. The method of communication depends on the capacity, capability and intent of the customer, and not so much on the capacity, capability and intent of the communicator. The reference point is the customer and not the communicator. This is often forgotten.

That is why the same devotion is expressed differently for different gods: bilva for Shiva, tulsi for Vishnu, grass for Ganesha, hibiscus for Kali and sesame for Hanuman!

Sikkil Gurucharan at Mudras on 31st December 2011

I wanted to end this year with Sikkil Gurucharan’s concert as he has been consistent throughout the concert.
For Mudra, he performed at Infosys hall, T.Nagar.
S.VaradarAjan- Violin
Umayalpuram Sivaraman – Mridangam
E M Subramaniam- Ghatam
-SarasUda – varNam in sAveri
-Tatvamariya tarama – Ritigowla- Papanasam Sivan Swaram in “Guha sodharane”
-SArasamukhi- Gowda malhar – Harikesanallur MB – Swaram in “sArasamukhi”
-SubhapantuvarAli – sub-main followed by “Sri satyanArayanam- MD
Neraval in “satyajnAnanda mayam sarvam vishnumayam”
-Orajuppu – Kannada Gowla- ThyagarAjar
-Main – Bilahari followed by “nA jEEvadhAra” – ThyagarAjar – swaram in the same line
-Tani
-mAle maNivaNNa – kundala varAli – TiruvembAvai
-sashanka chakram – verse from Vishnu sahasranAmam in Behag followed by “smara janaka shuba charita” – I think it is swAthi tirunAl.
-veLLaittAmarai – Bharathiar – Beemplas
-Chandrasekhara Isa Sundareswara Gowreesa – Sindu bhairavi – WHOSE KRITI ?
ThillAna by mudikondAn venkatrAma iyer in HamsAnandi – tAlam – desAthi
Iyal isayil – Desh- Tiruppugazh-ArunagirinAthar
Mangalam
It was my first concert in Mudra. Mudra is celebrating MMI Centenary. So Sikkil’s few songs are tributes to MMI.
Another outstanding concert by the team of professionals. 2 hours 3 minutes- kriti selection, time management and rendition – Sikkil Gurucharan is a class apart.
Tani by UKS- one has to go out and buy ticket again. Brilliant Tani with EMS.
varadarAjan’s karaharapriya in rAja Annamalai manram with Sanjay on 29th was outstanding and his Bilahari yesterday showed another class. Varadu has improved a lot.
Great going.