http://www.varalaaru.com

A Monthly Web Magazine for
South Asian History
 
[143 Issues]
[1515 Articles]
Home About US Temples Facebook
Issue No. 17

இதழ் 17
[ நவம்பர் 16 - டிசம்பர் 15 ]


இந்த இதழில்..
In this Issue..

கருத்தரங்குகள் - சில கருத்துக்கள்
பழுவூர் - 6
சிற்பக்கலை ஆய்வு - ஓர் அறிமுகம்
கல்வெட்டாய்வு - 12
ஸ்ரீநிவாச நல்லூர் பயணம் - 3
தக்கோலம் ஜலநாதீஸ்வரம்
Gopalakrishna Bharathi-3
சங்கச் சிந்தனைகள் - 5
Issue No. 17 > English Section
Gopalakrishna Bharathi-3
லலிதாராம்
Stay in Mayavaram

A few years rolled as Gopalakrishna Bharathi, with the help of patrons like Sri. Ramadas Mudaliyar, composed several kirtanas on Nataraja. He then decided to move over to Mayavaram. It was during this period, his 'sangeetha' and 'sahithya' attained immense popularity. His stature grew in great proportions and in due course, the very usage of the word 'Bharathi' meant only to the reference of Gopalakrishna Bharathi.

Kirtanas

Gopalakrishna Bharathi composed several kirtanas undermining the principles of 'advaitha'. The musicians of Mayavaram and surrounding places learned these songs. As a result, his kirtanas were sung in invariable every concert held in and around Mayavaram. Gopalakrishna Bharathi's kirtanas, portraying several musical facades, was extremely well received by the public. This prompted several musicians to approach Gopalakrishna Bharathi. The musicians would express his vision for a new kirtana and Bharathi would always oblige and compose a song that would fit the musician's requirement.

Gopalakrishna Bharathi composed several pieces that could be sung in a marriage, such as songs for 'nalungu', 'oonjal', 'laali', 'kummi etc. These pieces became famous among the ladies and promptly replaced the earlier pieces for these occasions, which were in Telugu.

Gopalakrishna Bharathi's compositions also include the likes 'kOlaattam songs'. These songs, when sung by children during kOlaattam, captivated the hearts of the rich (prabhus), thereby helped the children make more money than usual. This made the children approach Bharathi for new compositions. As far as Bharathi was concerned, all he cared about was for the spreading of Lord Nataraja's fame among the public. This motivated him to compose new pieces as and when approached. One such 'nalungu song' is as follows:

Raga: Madhyamavathy


Nalangida vaarum nIr nataraja mUrthi -
sambO nataraja mUrthi
nalangittE en adhishtam niRaivEtra varuvIr (nalangida)

ulakEzum uNdOnum uNaraatha untham
nalamellaamthaan uNaranaanaar gurunaathaa (nalangida)

munnamen kai thotta muththE en maNiyE
innam enRanai thottE inbamellaam tharuvIr (nalangida)

ennaavith thuNaiyE nIr ezundhirum aiyaa
ennadhaan kObamO ezundhirum aiyaa (nalangida)


The Dhakshinamurthi shrine of the Vallalaar temple, located at the northern banks of Cauvery, was his regular spot to perform meditation and yoga. A close chronological examination of his kirtanas would show his growing proficiency in 'paara marga'. Some of his kirtanas also reveal his faith in yoga. A shrine for 'Agastheeshwara' is located on the southwest corner of the Mayuranathar temple. The shrine and the several 'vilva trees' to its vicinity made it a peaceful location. Bharathi would visit this place everyday to perform meditation and yoga.

Meeting with Thyagaraja

During this time, Gopalakrishna Bharathi came to know about Sri. Thyagaraja through various sources. On coming to know about the greatness of Thyagaraja's kirtanas and his Rama bhakthi, Bharathi decided to visit him and traveled to Thiruvaiyaru.

(U.Ve.Sa describes the meeting of the two musical greats in conversation format.)

Thyagaraja: Where are you from?
Bharathi: Mayavaram.
T: I have heard about a sangeetha vidwan by the name Gopalakrishna Bharathi. How is he doing?
B: The person you are talking about is I.

Bharathi's humility moved Sri.Thyagaraja and his disciples. At that time, Thyagaraja's disciples were singing one of his compositions, 'sri rama seethaa alankaara swaroopaa', set to raga abhogi. On completion of their rendition of the song Thyagaraja asked Bharathi if he had composed any kirtana in abhogi. Bharathi kept mum while Thyagaraja's disciples continued to sing many other songs.
Thyagaraja's detached life and total immersion into rama bhakthi melted Bharathi's heart. He realized that it was only because of Thyagaraja's true devotion, his compositions that originate inside a small house reach all over the world. This reinforced Bharathi's faith that there is no better service to God than singing his praise through kirtanas.

In the evening, Bharathi took leave from Thyagaraja and visited the Iyaarappan temple and had the pleasure of seeing Lord Pranathaarthihara and Goddess Dharmasamvardhini. Although, Bharathi had left Thyagaraja's place, his mind was lingering with the question Thyagaraja had asked on abhogi kirtana. The temple's ambience and the abhogi kirtana he had listened to at Thyagaraja's place inspired him to compose a kirtana on Lord Nataraja set to raga abhogi.

Bharathi visited Thyagaraja the next day and during their conversation requested Thyagaraja if he could sing one his compositions.

"I have listed to your kirtanas before but it will be a great experience to listen to your composition in your voice", replied Thyagaraja.

Immediately, Bharathi sang the kirtana he had composed the previous evening.

Raga: Abhogi

Thala: Rupakam



Sabaapathikku vERu dheivam samaanamaagumaa - thillai
Sabaapathikku vERu dheivam samaanamaagumaa

Krupaanidhi ivaraip pOlak kidaikkumO iththaaraNiyil ( sabaapathikku)

Orudharam siva chidhambaram enRE uraiththaal pOdhumE
Paragathikku vERu puNyam paNNa vENdumaa?
ariya pulaiyar mUvar1 padham adaindhaar enRE puraaNam
parindhu sollak kEttOm gOpaalakrishNan paadum thillai (sabaapathikku)


On listening to this song, "When I asked you about abhogi kirtana why didn't you mention about this kirtana?", asked Thyagaraja. Bharathi replied in all humility, "I had not composed in abhogi when you asked me. I had composed this song after leaving your place. It was only because of your blessings I could compose this kirtana. Please do excuse any mistakes in the composition." Thyagaraja realized bharathi's proficiency in music, composing and his devotion towards Lord Nataraja and blessed him whole-heartedly.

Foot-notes:
1. Muvar refers to the trinity of 'thillai vettiyaan', 'petraan saambaan' and 'nandhanaar'.
this is txt file
       
இப்படைப்பு குறித்த தங்கள் கருத்துக்கள் வரவேற்கப்படுகின்றன. கீழுள்ள படிவத்தில் தமிழிலோ ஆங்கிலத்திலோ பின்னூட்டமிடலாம். தமிழில் பின்னூட்டமிட ஏதேனும் ஒரு தமிழ்ச் செயலி பின்னணி செயல்பாட்டில் இருக்க வேண்டும்.
We welcome your Feedbacks on this Article. Please use the Form below to provide your Feedbacks.
 
தங்கள் பெயர்/ Your Name
மின்னஞ்சல்/ E-Mail
பின்னூட்டம்/ Feedback
வீடியோ தொகுப்பு
Video Channel


நிகழ்வுகள்
Events

சேரர் கோட்டை
செம்மொழி மாநாடு
ஐராவதி
முப்பெரும் விழா

சிறப்பிதழ்கள்
Special Issues

நூறாவது இதழ்
சேரர் கோட்டை
எஸ்.ராஜம்
இராஜேந்திர சோழர்
மா.ரா.அரசு
ஐராவதம் மகாதேவன்
இரா.கலைக்கோவன்
வரலாறு.காம் வாசகர்
இறையருள் ஓவியர்
மகேந்திர பல்லவர்
குடவாயில்
மா.இராசமாணிக்கனார்
காஞ்சி கைலாசநாதர்
தஞ்சை பெரியகோயில்

புகைப்படத் தொகுப்பு
Photo Gallery

தளவானூர்
சேரர் கோட்டை
பத்மநாபபுரம்
கங்கை கொண்ட சோழபுரம்
கழுகுமலை
மா.ரா.அரசு
ஐராவதி
வாழ்வே வரலாறாக..
இராஜசிம்ம பல்லவர்
(C) 2004, varalaaru.com. All articles are copyrighted to respective authors. Unauthorized reproduction of any article, image or audio/video contents published here, without the prior approval of the authors or varalaaru.com are strictly prohibited.