Gaanam Isaithu Nindrayo - Varnam

Composer: Madurai Muralidharan

Pallavi 
Ragam: Valaji
Gaanam Isaithu Nindrayo 
Have you been standing somewhere playing music (on your flute
Ennai marandha kaaranam ondru sollvayo Kanna Kuzhalil
Can you give me one reason why you forgot about me? O Kanna (Krishna)

Anu Pallavi #1
Ragam: Hamsanadham
Maanam Kaakave Sendrayo 
Did you go away to save somebody's honor (referring to Draupadi from Mahabharatha)
Oru murai maamugam kaati chelvayo Manivanna
Will you show me your wonderful face once before going? O Beautiful one.

Anu pallavi #2
Ragam: Vasantha
Dhaanam Kekkave Sendrayo 
Did you go away to get some donation/charity (referring to Krishna asking Karna for his earrings and armor) (forgetting that I am waiting here)
Udan vara thaamatham innum seyvaayo Kanna marandhu
Will be you be late to come accompany me?

Anu pallavi #3
Ragam: Dhanyasi
Neelam nirai vanna mEniyane 
O beautiful one filled with the color of blue
Inimel nee varum vElai solvaayo karunai kondu.
Will you please take pity on me and  tell me when you will come?

Mukthayiswaram (Sahityam) (This uses the 4 ragas above in reverse direction of Dhanyasi, Vasantha, ??, Valaji)
Kalingam meedhinil nal nadanam seidhu 
Did you dance on the Kalinga serpent 
vadham purindhayo Kamsanai venru
Did you win Kamsa and kill him?

Kalaithanayao Maamalai karam thookiye 
Did you get tired of lifting the mountain on your hand
ennayum marandhanayo Kanna
Is this why you forgot me? O Kanna

Charanam
Ragam: Charukesi
Anandham kondu nadanam aadi varuvaye Gopiyargal sozhndhidave
You come dancing with glee, surrounded by the Gopika ladies

Chittaswaram 1
Ragam:?
Geethai uraithu nalla paadhai vagutha maadhava
Oh Madhava who preached the Gita and showed us the good path

Chittaswaram 2
Ragam: Surya/Sallapam?
Maadam thorum oli maamani deepamum 
There a lights lit in various sconces
Maayan undhan vazhi maandhargal naadavum
Oh tricky one, the ladies are looking for you
Manaseegamai maayam seyyamal 
Will you please not trick me
maadhenai thediye maalayida varuvaai
But seek me out to garland (marry) me?

Chittaswaram 3
Ragam: Amrithavarshini
Saagasam nee seivadhenna Kanna 
Why are you teasing me such? O Kanna
kaaranam inriye karunai seyyamal
you are not showing me any pity for no reason at all 
Maamugam kaatavum manam irangavum
Show me your face, show me some kindness
naan paayiram paadinen pagal iravaaga
I sing songs for it day and night
thamadham inriye thavithidum pedhaiku 
Without any further ado, for the lady who is despairing
nee manam negizhndhu varam tharuvaye
Give a boon with a kind heart
Sagaram meedhinil paamaraiyin mel 
In the ocean, on the serpent (Adisesha)
pallikonda parandhaman padham naada
O sleeping Supreme one, I seek your blessings.

Arputha Narthanam

This is the first piece we learnt as the prep class for 2016.  It's an interesting piece by Madurai Muralitharan. What I observe as I learn more pieces by this composer is that his pieces are very intricate and mathematical but not necessarily musically rich. I am not sure if I am making sense here but his pieces (this was the second piece i learnt by him, the previous one being the amrithavarshini jathiswaram in khanda matya tala and I am currently beginning a ragamalika varnam by him as well). There is a lot of fanfare, intricate korvais and karvais but somehow leaves me unsatiated musically. Of course take this with a pinch of salt (a bucket if you will) since it is coming from someone who cannot even be termed a novice.

Anyways after that armchair review, now to the actual piece. This is set to Gambheera naatai literally means "Majestic Naatai".  It is a janya of the 36th melakartha chala naatai (without the R and D). It's very upbeat and happy raga usually used in mallaris or procession music.

Viruttam
Moolaadhaaramai moo ulagam vilangum
The one who is the primordial force in the three worlds

Muzhu mudhar kadavule
First and foremost God

Velaayudhan vanangum
The one who is prayed to by Lord Shanmuga(Kaarthikeya)

Maayon Marugone
The nephew of Vishnu (Remember Parvathi, Ganesha's mom, is Vishnu's sister which makes Ganesha the nephew of Vishnu)

Kaelaai enn muraiyai
Listen to my pleas/requests

Kanivudane udan kaavai Ganapathiye
With kindness. Protect me right away Ganapathi (Ganesha)

Kanam idhuve Ganapathiye
This is the time (for you to protect) Ganapathi


Pallavi
Arputha narthanam azhagudan aadidum
The one who dances the wonderous dance beautifully

Aanai mugath(u) omkara roopane
Elephant faced who has the form of an OM

Aanandham thandhidum aingarane
The five handed one(Ganesha) who gives happiness (Ganesha is said to have 5 hands - 4 arms and 1 trunk)

Arul varame anudinam.
Bless us with a boon daily

Anupallavi
Parpalarum paniyum param dhayanidhiye
The kind compassionate one whom everybody bows to

Murpagal vinai theerkum moolaadhaarane
The primordial force that absolves me of sins from my previous birth

Charanam
Ethisaiyum pugazh naayakane
The leader whom the eight directions praise

Siddhi vazhangum vinayakane
The Vinayaka (Ganesha) who blesses (us)

Nal buddhi tharum mudhalaanavane
The pioneer who gives us good brains (wisdom)

Bhaya bhakthiyudan dhinam murali vanangidum
Murali (the composer) bows to thee with reverence

Kanne en Kanmaniye

This is a thalaatu set in Ragam Kurinji. Kurinji is a rare ragam and is most suited for lullabies and laali paatu (Those sung during the oonjal ceremony in tambram weddings). "Seetha Kalyana Vaibogame" is a popular song in this raaga
Kurinji is a janya of 29th melakartha Shankarabaranam

This piece sung by Bombay Jayashree has two parts - 1 Viruttam from Periyazhwar Thirumozhi (from NAlAyira Divya Prabandham) and 2 - a beautiful song by Papanasam sivan


Lyrics

Viruttam
mANikkam katti vairam idai katti
Studded with rubies, interspersed with diamonds

Ani ponnAl seidha (vanna) siru thottil
a small (beautiful) cradle made with purest gold 

pENi unakku piramman thandhAn
Lord Brahma gave it to you with utmost care

mANikuRaLanE thAlElO
thAlElO is an form of endearment that can probably be translated as "sleep baby" or "hush baby". 
Oh short-form-ed one (may refer to vamana based on following line but could also refer to him being so small as a baby)

vaiyam aLandAn thalElO
Oh the one who measured the universe

devaki bAlane thalElO
Oh the baby of Devaki

ulagam uNdavane thalElO
Oh the one who ate earth (referring to how Krishna ate mud as a kid)

Pallavi
kaNNE en kaNmaNiyE
Oh my eye, the pupil of my eye (Not to be taken in literal sense but as an endearment)

kaNNanE kaN vaLarAi
Oh Kanna, may you grow up well

maNNulagil en vAzhvai vaLam peRa vanduditta
You came to this world to make my life more prosperous



Anupallavi
kuyiliSai kuzhalOSai un konju mozhik kiNaiyAmO
Can the cooing of the cuckoo bird or the music from the flute, even be equal to your sweet words

koNDa mana sancalaNgaL panjAi paRandiDumE
All the worries that clouded my mind just blows away like mere cotton fibre in the wind (referring to the sweet words from above)
tAlElO! tAlElO!

CharaNam
tEDAda en nidhiyE tigaTTAda teLLamudE
The wealth that I couldn't have found anywhere, the pure ambrosia that I can never grow tired of 
vADAda menmalarE manattuL inikkum tanittEnE

the flower that never withers, my own sweet honey that sweetens my heart
tAlElO! tAlElO!

Govindan Kuzhalosai

This is a beautiful padam in ragamalika composed by Kalamamani Dr Saraswathi
It praises Lord Krishna and how his flute music enchants everyone around that they forget their normal routines. 

It is set to raga Desh predominantly. This is popular hindustani raga but there has been a lot of tamil/carnatic songs tuned to this. One popular song that comes to mind is of "Vande Mataram" the national song... set in desh (meaning country... you get it?)
The other is "Thunbam nergayil" from an old Tamil movie.

The Pallavi and anupallavi are set to this raga. 
the Charanam forays into Atana (janya of 29th melakartha Shankarabharanam).  

There is then a burst of chittaswarams in various raga - Atana, ranjani, simmendra madhyamam, mohanam, hindolam, finishing up back in desh

Lyrics

Pallavi

Raga:Desh

gOvindan kuzhalOsai kEtu 

Hearing the music from Govindan's flute
angu mEvidum Avinam mEIdhal marandhana

The cattle and livestock grazing over there, forgot to graze

Anupallavi

KUvidum paravaigal kUdugal thurandhana

The chirping/singing birds forgot their nests
PUvidai thEn arundha vandinam marandhana

The honey bees forgot to drink nectar from the flowers

Charanam

Raga: atana

KatiLa mangaiyar kaNNan kuzhal kEtu

The young damsels heard Kannan's flute (and)
Mattila Ananda kadalil mUzhgi

drowned in the sea of boundless joy
KaNNanai kandu kAdhal kondu

Saw Kannan and fell in love with Him
KaNNa endrE thEdi alaindhanar [kaNNa nin kuzhalosai ketu]

Called out "Kanna" and started searching for him

Anandha Natamaduvar thillai

This is the first of the many padams that we would learn eventually.


This is a song in praise of Lord Shiva - the cosmic dancer. The composer is Neelakanta Sivan. He is little known but has given some wonderful compositions. His disciple, Papanasam Sivan, on the other hand is quite popular as we all know.

This song is set to raga Purvikalyani. Purvikalyani is a janya of (no, not Kalyani but) Gamanashrama.
Will probably post on my music blog regarding this raga.

Lyrics

Pallavi

Ananda naTam ADuvAr tillai ambalam tannil aDi
paNIbavark-kapajayam illai
(Ananda)

Ananda (happy) natam (dance) aduvar (he's dancing) tillai (Chidambaram) Ambalam (temple) tannil (in)

adi panibavar(devotees) apajayam illai (no troubles). 

He who dances  happily in the Chidambaram temple, if we pray to him we won't have any troubles. 

Anupallavi

tAnandam illAda rUpan 

tajjam takajham takajhaNu 

taLAngu taka tatingiNatOm 

taLAngu taka tatingiNatOm 

taka dhimi taka tatingiNatOmena

(Ananda)

He is the one with no start/end (tanandam). Referring to how he wanted to show Vishnu and Brahma that he is endless. Vishnu goes for Shiva's feet and when he couldn't find it he surrenders. Brahma goes to find his head and meets a thazhampoo (Kewra phool) that falls from Shiva's head. He asks the thazhampoo to back him up and say that yes brahma saw his head. Accordingly Brahma and the flower lie to Shiva but he finds out and curses brahma that there would no temple to worship him because he lied. 

CaraNam 

pAdi madi jyOti phaLir phaLIr enna 

pAda shilamboli ghalIr ghalIr enna
Adi karai uNDa nIlakNTham minna 

arapura hara shiva sundara 

aruL gurupara shiva shankara
ANdamum piNDamum AdiDa 

eNdishaiyum pugazh pAda
(Ananda)

Padhi (half) madhi(moon) jothi(light). The light from the crescent moon on his head is glowing brightly. 

Pada (feet) silamboli (sound of the bells). The sound of the bells from his feet are so sonorous and loud. 

Aadi (in early days) karaiunda (drink poison from the ocean) neelakantam (blue throat) is shining

arapura hara shiva sundara - the one who has conquered all worlds

Arul gurvara shiva shankara - The shiva who bless gurus 

Andamum pindamum aadida (The entire world with all its living/non living beings are dancing with you)

Endisaiyum pugazh paadida (the eight directions are singing your praise). 

Thillana - Ratipatipriya

This is the first thillana we learnt. Thillanas are a form of song where the rhythm is given a lot of importance. In fact the whole piece is centered around the rhythmic syllables set to a tala pattern. Unlike the solkattu that we encountered earlier in varnam or shabdam, the solkattu in thillana is the "actual" song and is sung as such. Each thillana is also set to a raga (or scale or tune) and sometimes it might even be a ragamalike (remember shabdam?).

The beauty of the thillana is in the fast verses and the intrinsic and complex patterns that still adhere to the tala patterns. A few months (well, maybe a year) ago I wrote a post on Korvais (joins) and Karvais (splits). Thillana is just full of them. I want to highlight some using the current thillana as an example.

This thillana is set to Ratipatipriya (a little known ragam except for the masterpiece Jagajanani). The ragam is the janya of 22nd Melakartha Karaharapriya. It's a audava-audava raga, very simplistic in its structure. Not a whole lot of neraval swaras. As with a lot of KHpriya janya, it is a very melodious raga. KHpriya is quite the prolific mother but I digress.

As I mentioned the emphasis of thillanas is on the rhythm. This is beautifully explored in the current Thillana. It is set to adi talam which is the regular 4+2+2 however, it is set to cycle of 2 avarthanams or 16 beats (That is it takes 16 beats to complete one cycle).
(Nadir theemtha deem deem deem) -4
(nadirtha deem deem) -2
 (deem deem thana) -2
 (dhirana thana dheem) - 4
 (janu dheem) - 2
(dheemtha dheemtha dheem) -2
What this does is that it gives the percussionist and hence the choreographer a little more freedom to work with which makes for some very beautiful combinations.

A typical structure of the thillana is Pallavi and anupallavi of solkattu followed by a lyrical charanam. In this version, the charanam goes as follows

Ponnezhil mEni vaNNanE
The one whose body has the charm of gold
kANa eNNinEn mEga varNanE
I wanted to see you, the one who's colored like the clouds (dark skinned - as Krishna is said to be dark skinned)
viNNavar pAdum mannanE
The king whose praise the celestial gods sing
maNi vaNNanE kamala kaNNanE
O Beautiful one, O lotus eyed one.

The forgotten verses

What makes a varnam beautiful is not just the lyrics but also the intricate nattuvangam (or sorkattu) that is interspersed. In tamil, sol = word and kattu means to tie or tied, therefore sol+kattu = sorkattu which is essentially the words tied together. these are identified as the Theermanams in the previous post. Jegatha had asked me to provide the sorkattu for the varnam and here you go. I am including all the theermanams as well as the swarams (mukthayi and chitta) in the same order as they appear in the varnam.

Each transition from song to solkattu is preceded by 
thalaangu thakathiku thaka thathinginathom

Theermanam 1: This is a trikala jathi meaning the same solkattu is repeated in 1st speed 2nd speed and 3 speed. the speed or tempo controls how many aksharas (or swaras) per beat. and the tempo increases exponentially  that is 2nd speed is twice 1st speed and 3rd speed is twice second speed (or 4 times 1st speed). 

The sol goes as follows

Tha ritha ritha kina | naka thaka | jam jam || 
Tha jam , , , |  thaka jam|, , , || thakun dari kita thaka| 

(Note that this is 2.5 avarthanams(cycles) and therefore repeated 2 times to make 5 avarthanams)

The same is repeated in 2nd speed as follows repeated 4 times
tharitha rithakina nakathaka jamjam| tha jam thaka jam | thakundari kitathaka||

3rd speed repeats the above 4 times.

a special "theermanam" is appended to completed the cycle as follows
tharitha rithajam thatharitha rithajam| tharithaka ritha tha thakathiku kitathaka tharikitathom||
tharikitathom thaka tharikitathom thakathiku kitathaka tharikitathom||

This is repeated thrice to finish the cycle.

Theermanam 2: (One speed only)
tha thadingu thaka thaka thadingu thaka tha nom thadingu thadingu thadingu tharikita ,dingu dingu tharikita
tha thadingu thaka thaka thadingu thaka tha jam thadingu thadingu thadingu tharikita ,dingu dingu tharikita

tha thadingu thaka thaka thadingu thaka tha jam thaka thadingu thaka naka thadingu thaka tha jam

tha thadingu tha thadingu thai thaka thadingu tha thadingu thai
tha thadingu tha  thaka thadingu thai thalaanguthom thakathiku kitathaka tharikitathom
tha thadingu tha  thaka thadingu thai thalaanguthom thakathiku kitathaka tharikitathom
tha thadingu tha  thaka thadingu thai thalaanguthom thakathiku kitathaka tharikitathom


to be continued.