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2K views60 pagesBKTM SeethaRajan Ed SrI krshNalIlA Tarangini of NarayanaTirtha 1996 0373
SrI-krshNalIlA-tarangiNi-of-NarayanaTirtha Tamil with notations
Uploaded by
asraghuCopyright
© © All Rights Reserved
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First Edition : July 1996
© Copyright Reserved.
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26 AUG 19¥6
Price Rs. 60/-
38, Fourth Mal Rox
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Nedres 600 028,
Available at
‘THIRUPOONTHURUTHI SRI NARAYANA THIRTHA SWAMIGAL TRUST
64/2, Raja Annamalaipuram, Chennai - 600 028,
Phone : 4936671
Printed at Gnanodaya Press, Chennai - 600 034
INTRODUCTION
Few compositions have had such an impact on the tradition of
South Indian Classical (Karnataka Sangitam) music and the dance
systems - both “Bharata Natyam and Kuchipudi” schools - as Sri
Krishna Leela Tarangini by Narayana Tina, acclaimed universally as
the only work of comparable status among the several ofthe gente of
Jayadevs's Gita Govindam. The Tarangini has been composed by
Narayana Tinha in chaste Sanskrit and set to melodious music in the
form of a dance-drama on Lord Krishna, based onthe gripping story
from His binh to his wedding with Rukmini, a6 related in the
asamaskandham of Srimad Bhagavatham. The work is divided into
twelve Tarangams (waves) which constitute the Tarangint- the tile of
the composition meaning "The River of Sti Krishna's Sports
“The composition “Sri Krishna Leela Tarangini” consists of 155
gitams (songs) of varying length, including shot daruvus in 39 ragas
(most of them Rakti agas), 248 slokas, gadyams and vacanas (linking
prose passages). Narayana Tina's mastery over musi, philosophy and
Sanskrit are equally brought ino play and invest the Tarangini with its
distinctive favour. It reflects with rare felicity’ the Bhagavannama
Sanktsana tradition - repeated adoration ofthe Lord in song and dance
‘of which the Tinh i a distinguished exponent. While Jayadeva's Gita
Govindam is a Srgara mahakavya sel to Bharata's Natya Sasta, the
ascetic inthe Titha elevates the Bhagavatha theme 10 lofty
philosophical heights (reflecting his deep Advatic persuasion) and 10
the level of Brahmananda, as propounded inthe Upanishads
Although Narayana Tintht belonged to what is commonly
described a the pre-Trniy period - that of Tyagaraja, Muthuswami
Dikshitar and Syama Sas - the Krtanas in the Tarangini have the well,
defined divisions - Pallavi, Anupallvi and Caranam, In the third and
seventh Tarangams, Narayana Tisha has enriched the composition with
liking solkatus. The sulad sapataas have also been employed in the
Seventh Tarangam. Being basically a dance darma, the work provided
ample scope for abhinaya. Narayana Tina's Tarangam pieces have
been over the centuries, an integral part of the Kuchipudt dance
tradition of Andhra Pradesh, While the Bhajana sampradaya tradition
tnd presentation ofthe Tarangam pisces inthe Kuchipadi sie ve led
deep roots in Andra country, and Narayana Tinta and the Tarangini
are held in great reverence there, the Narayana Tinka tradition in Tamil
Nadu as been confined mostly to the rendering ofa few of the better
known gitams in music concerts, apart from thei inclusion in Sodgurs
Svamin's Bhajana paddhati which ig being followed at Varahur,
‘Marudanallur and Govindspram,
Rovent researches have conclusively established that the
period of Narayana Tinha (the author of Sri Krishna Leeta Tarangini =
38 distinguished from other luminaries of the same nayye) is. 1675
1745 AD. It was a strange destiny that Narayana Tisha, a Telugu
savant, br in Kaza in Guntur district of Andhra Pradesh, dedicated Sei
Krishna Leela Tarangni to Lord Venkatesa at Varahur (in Thanjavur
district of Tamil Nadu) where he attained samadhi, While the
Janmashami festival at Varahur i a sacred oceasion to recall Narayana
‘Tintha’s memory, the annual observance ofthe Aaradhana atthe Saint's
samadhi at Tirupoonthuruti serves to remind us of Narayana Tirta’
service tothe cause of our musical tradition and Advaitie philosophy
Till the eavly half of this contury, the wealth of masiea
excellence in Narayana Titha's Sti Krishna Leela Tarangini was not
totally exposed to music lovers in Tamil Nadu, the repertoire in vogue
being confined to only a few gitams. In the latter half of the century,
considerable attention has been given to the large canvas of the
‘Tarangini and the variety of the compositions ~ in the fields of oth
music and dance, The ragas in which many of the gitams were sung in
the Andha schools have been differen from those current in Tamil
Nadu. There were even doubts whether the Ragas now being used were
the same as Narayana Tirtha has adopted. Quite reasonably, the
Addanki school claimed that for generations they have. devoutly
adhering to Titha’s pattern, s
Lately, there has been a tendency to take liberties with the
Ragas forthe various gitams -hoth in Andhra Pradesh, particularly in
the field of Kuchipidi dance and én Tamil Nadu with the intention of
making many more gitams popular. The increasing interest shown by
‘ur musicians in recent years in populrising theless Known gitams of
the Tarangini has cared for Narayana Tinka and the Tarangini a
listintive place in our musical scheme
‘When the Varhur edition (in Tamil - wo Volumes) of
Narayana Tirtha's Sei Krishna Leela Tarangini was published in
T986V87 and my tvo Volumes (withthe Sanskrit text, transliteration and
translation in English) came out in 19889, there were many enquiries
‘whether the texts of the gitams could be brought out with the musical
fotation. Apart from many Indian scholars, foreign scholar {rom
Japan for example) are now working on Doctorate theses on Narayana
Tinta and Sri Krishna Leela Tarangini: and ina dancing school based
in London, specialisation in the Sula items has evoked considerable
Jmterest. Many musicians and dancers need the notation for the gta.
These ae encouraging
Voraries of Narayana Tirtha owe a deep debt of gratitude to
Rajya Seva Nista Sangita Kalanidhi Dr. Semmangudi R. Srinivasier
(now entering his 89th year fr the signal service he has rendered to
fur cause when he: undertook as early as 1971 10 publish, under the
auspices of Sf Narayana Titha Swamigal Aradhana Comite,
Tinupoonthurthi (Thanjavur district, Tamil Nadu) forty-nine gitams
from Narayana Tirth's Sri Krishna Leela Tarangini. The late Dr. V,
Raghavan, to, has made a substantial contribution tothe research on
Narayana Tirtha’s life and work. But much remained to be done to
focus adequate aention on this saint composer who had not yet been
agcorded due recognition in the musical scene. Luckily the last three
decades have witnesd a fair measure of zeal to propagate the
contribution of Narayana Tirtha and project his personality as an
outstanding Advaitin and Composer: and the Narayana Tirtha Aradhana
Committee at Tirupoontuuruthi and the Narayana Tinta Trust at
‘Madkas who, in conjunction with Sarasa Vaggeyakara Trust and
Narada Gana Sabha have been arranging the annual festivals in homage
to Narayana Titha, deserve a large meed of prise for thee dedication
to this great cause. The eredit for this sustained effort in building the
tmuch deserved niche for Narayana Titha, during the last three decades
in Tirypoonthuru should go 19 Tirupoonthuruthi V. Venkatesan who
has taken up this effort as his major mission in lie
This note should serve to launch fork his publication of fifty
five gitams - with notation - from Narayana Tita’s Sri Krishna Lecla
Tarangin. Aller a gop of twenty-five years, yet another major effort is,
being made, a a result of the sustained labours of Mr. Venkatesan and
fellow-musieians, to make the notation avaiable for many more gta,
This is a much needed addition to the available literature on Naryana
‘Tirtha, We are grateful tothe many partieipans inthis laudable effort. I
‘venture to hope that Mr, Venkatesan would soon be sble to publish the
notation for the remaining gitams. A sense of fulliment will be the
rewatd for all his labours. I invoke the boundless grace of Narayana
Tinta in his effort
Kaveri
RK. Nagar,
Mauiras = 28
3rd aly 1996
B.NATARAJAN
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SHRI NARAYANA THIRTHA
The area encampassed by the tangle, Thanjavur, Chidambaram
and Tiruvarur is a very hallowed space in mother earth resplendent with
philosophy, culture and tradition. It has been a history of uninterupted
growth and consolidation in all these spheces right from the days of chola
rulers down to 19th century. It hat also been a history of vibrant
absorption of various beneficial influences imported by the successors to
the Chola Dynasty.
‘Shri Narayana Thirtha, a Sait composer of the 17/18th century is
vocal example ofthis growth and assimilation, The guess is that he was
bor in 1675 and attained Sidi in 1745. His maser piece is of course the
Krishna Leela Tarangini in 12 cantos covering Dasamaskandham of
Bagavadham until "Rukmini Kalyanam”. In his vision Krishna was the
“Paramatma” and hs outpourings bear an indelible stamp of advaitha, The
Krishna Leela Tharangams form pethaps the longest dance drama in
Sanskrit. tis also the fist attempt at presentation of ideas in kirtana form
‘which later gave place tothe krt form. Naryana Thirtha isthe poorvaguri
fof Saint Thyagaraja that immoral bard of Tirwaiyaru. Sangeotham
according to Naryana Thirtha is an accessory 10 the realisation of the
‘Supreme, Sangeetham whichis always blended with Bakthi is itself the
‘Supreme Realty according to Saint Thyagaraa
‘An offshoot ofthe activites relating to the aradhana ofthe Saint's
attaining His Sid is the publication of 49 Geethams inthe compositional
form inthe year 1971. The publication in the metric form is due to the
yeoman service rendered by Sangeetha Kalanidhi Semmangudt Dr. R,
Srinivas Iyer who with his background, training, erudition, keen sense of
‘observation and unigue experience had taken the task {0 provide the
‘metrics of the compositions. The Trustees therefore owe a deep sense of
sratitudeto him
“The present book isthe continuation ofthe same thought process.
Considerable background work has been done by Tirupoonthruth She
V. Venkatesan who is the moving spirit behind all activities aimed at
remembering Shri Naryana Thirtha and spreading his divine mission of
this work richly deserves tobe placed on record
‘The entre book in its present form is due to the tieless effort of
Srimathi Sita Rajan, a worthy disciple of Semmangudi Shri R. Srinivasa
Iyer. She has successfully addressed herself co this task with rare
‘example of devotion, werthy of emulation tis atoo magnificent a work in
too shor atime, We thank he fr the same, We also thank Sri Sukavanam,
Smt, Kala Sukavanam and Selvi Padma Sukavanam for composing this
Giffialt job in Desk Top and Mr. S, Ramakrishnan in his help and
tuidance in the composition work. Our thinks are also due to Sx
‘Tripicane Sambasiva Bhagavatharand his wie
‘We thank Mis. Gnanodaya Press for printing his publication ina
very short itme, They did not confine themselves to mere printing, but
wee also o-partners in bringing out this book
Is common knowledge that such efforts require considerable
Financial suppor. Its gratifying fo observe that there has been generous
response to the request for funds. Kunnakai Shri R. Vaidyanathan and
Mis. Apple Credit Corporation Lid, have contributed a sizeable amount
‘We thank them forthe same.
‘Concluding iti hoped that this book will be a welcome addition
in the world of Camatic Music and that many would benefit because of is
availability
N. V. SUBRAMANIAN,
Trustee THIRUPOONTHURUTHY SRI NARAYANA TIRTHA SWAMIGAL TRUST (REGD.)
64/2, Second Main Road, Raja Annamalaipuram, Chennai - 600 028
Patrons
Sri B. Natarajan Sri V. Vaidyanathan
Trustees
SriN. V. Subramanian Sri T. V. Srinivasan
Padmasri K. J. Jesudas Sri V. Viswanathan
Managing Trustee
‘Thirupoonthuruthy Sri V. Venkatesan
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