Veena kuppayyar biography of nancy
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I have a couple of doubts there, particularly in the positioning of some names. There are varnams with vAdi samvAdi usage (gAga nini usages in Muthiah Bhagavatar’s mAtE). A significant number of his songs are about the greatness of the Lord’s name and the doctrine relating to its recitation. ‘Enduko nee manasu’ (Kalyani; ‘Emi dova’ (Saranga) ; and, ‘Enduko baga teliyadu’ (Mohanam).
He would not tolerate deviations from the poetry and music that he created with great earnestness.
24.1. Perhaps, not many, now, look at him as a person; an individual who lived amidst his fellow beings enduring the pains of a common householder. The other well-known Utsava Sampradaya kritis include ‘Hecharikaga rara’ (Yadukula Kamboji) and ‘Nagumomu’ (Madhyamavati).
Geya Nataka
27.1.
There are also mangala– songs at the end of three chapters or scenes. Each followed the other naturally. Sri Tyagaraja’s mentor, Sri Upanishad Brahmendra Yogin had earlier taught him that RA-MA* is indeed the essence of both the Ashtakshari Narayana–mantra and the Panchakshari Shiva–mantra. Because, it is said, a Kriti should essentially be beautiful by itself; and, should sound sweet even without elaborations.
28.3.
Veena Kuppayyar died in the year 1860. He gave vent to his sorrows, disappointments, frustrations, agony, disgust or mock-anger, hurt and pain, and above all his joy in adoring Sri Rama, by sublimating those emotions into soulful songs that gushed forth spontaneously. Please Check the article here.
It is said; more than about 150 of his compositions have been traced.
Apparently there are several theories for this but none conclusively proven.
Sumathi sang very well and that was a major plus in the presentation.
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(For my friend Shri Kannan Rangachar)
Continued from Part II – Life
Many- splendored genius
19.1.
P Vasanthkumar wanted to know if Ramaswami Dikshitar’s manohari varnam was sung in kamalA manohari as in kanjadalAyatAkshi or in manohari as in sankaram abhirAmi. Interestingly, many of the songs in the play are composed to folk tunes.
The ‘Nauka Charitram’ comprises twenty one Darus (songs with a pallavi, followed by an optional Anu-pallavi and several charanas) setin thirteen ragas and forty seven padyas (poetic verses set to different meters) , besides fifty- one vachanas (prose passages that set the sequence and provide narration).
Thus, developing the theme of the Kriti, progressively – in stages. The most famous varnam was Sami Ninne in Shankarabharanam. His mudra was Gopaaladaasa, in honour of his personal deity. Even the standard shankarAbharaNam Adi tALa varnam has one that goes – “with love, accept and play the love sport this night. His output,in Sanskrit and Telugu, was not only prolific but was also varied.
In that regard, Sri Tyagaraja was fortunate to have had around him a line of devoted disciples (Shishya parampara) who were eager to learn.