SOME PAGES IN THE ORIGINAL CONTAIN FLAWS AND OTHER DEFECTS WHICH APPEAR ON THE FILMDigitized in 2006 by Thrinaina Informatics Ltd, Secunderabad, A.P., India. (http:/Awww.thrinaina.com) From the original owned by Sundarayya Vignana Kendram and its partner Institutions as part of the British Library Endangered Archives Programme supported by the Lisbet Rausing Charitable Fund Except for individual research purpose any reproduction should be made with written permission from the Sundarayya Vignana Kendram, 1-8-1/B/25/A, Bagh Lingampally, Hyderabad - 500 044 Andhra Pradesh, IndiaCOPYRIGHT STATEMENT The copyright laws of the United States (Title 17, United States Code) and of India (Copyright Act of 1957) govern the making of photocopies or other reproductions of copyrighted material including foreign works under certain conditions. In addition, the United States extends protection to foreign works by means of various international conventions, bilateral agreements, and proclamations. 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SC. - oressoo[d 5 er jHoETY STO, 1934, xxiv, 102 p. 9 leaves of plates, :ports, :lll, 516 cm. Record no.43 Peficalanarasimharavu, Gall. GGnakala / Gall PeficalanarasimhGravu ; Gort! SUryanGrayanasGstrulu ; Visvanatha AppalanarasimhasGstrulu. - 1. kGrpu. - RGjamandrl ; Baksu MudraksarasGla, 1934. xxiv, 102 p. 9 leaves of plates, :ports, :ill, :16 cm. Record no.43 35 mm microfilm Image placement: IA(IDIB IIB Date filming began:85 8 S oc 3 8 3 SQ ov. By Hb: “ARGON OO wos HS yar bate pee EB See et f Oo - Cher is ee Rights Reserved.8 ER & BoAS* Sarregess TD DoSOns Rox orp HD SDooo¥ ced oj aw ROB, Kooga ordre Wry lowe BIH, — » we Q6*wor8, DorCe HH GPOTssgsy WroJo ToWss ee RERY-COSCWVASA. Boos BwG~65, 1000 SG... OB Mo & 4 ~Hys5 EpKorocces Se 8osenA Le 1984. , Z Ss Sahoo] J ifPBO & 100.rea, anf 2bxrreaom mH, vor’ Bhate, Hesso7rPD Bdotrraiso, M0 BY SIR cH BF oH my, WHE Pao HAE.OPINION. Vaggeyakara Ratna’ Masulipatam Hari Nagabhushanam, B.A., Vakil. 16—5—1934. I had not only the privilage of persuing some of the pages of this book of dramatic songs, but also achieved the delightful opportunity of hearing the learned author himself singing some of them before me and others ata regular performance. The author is evidently a poet and musician, imbued with origi- nality in thought and expression. He has a good knowledge of both Karnatic and Hindusthani music, and his songs record his high talent in both. He has brought out this book with aview to serve the present stage in its musical equipment and Idare say the brochure supplies a long-felt want. I hope the publication will meet with general appreciation and with circulation. Wishing all success to the author, my old friend. I remain, (Sd) Hari Nagabhushanam.2.59 SS mo. SPOR BM GAS SIV Sows. Sooga sss si SB, $8 soo 8 SJoraohos , By rT BKB, TS, "Sos, SRS, TOSS, SB vo, RS, SYS, wodes, Sosrrd, Sondon Bos), 8 SF SH sartood DS Sosicwd J) Ten wrens, WoraHes Broo, AAAgje Bosom MP KSHS swos sygeronowend Fo~ys SHB so o Bd WMHs Sp FsH0 S*HoMwSh7TY Hao Aya exsoun) Seoerdoms Woy B. SoASzs0 Beassieao SHO BE WYO FoB AHovr wish. V8 Soha 90, w%, Ferg Soh WErrSaa SHSFHso S*Wormoora. Woda So BYsoirrss, BoBaoasoBso soas HSC aise otoas BSHpR-cmMc BORW PAGE. 08 WoAdsovsto arerdg Wo Hires YOARWoBS, Booiasoe AOI re oA ASnoesoto OD Be Bsyr¥y-5 SMH. Hoda TEregssooe Bots KOVR y- SosAfaaop Tyr Bp Bot. BW PBs sao) Pirdy TOW Sore BORA WAS SASH PWsDoRI yes Heyiv So. B Akos, Seo Mow Jaserag og mB, TEM TD Josrs Bosoo7 Ke SAS *srptoe ORY ByHe TDowoHs. Beso aHasHogh | SVB Bsy-diowy O. a §* (FS a BS BSNS SoA) owess Polar arrS Sopows WoaIichsovr Bodod WA HHI9 or 86, [SBKow HomBod BBsusow 9 gow eaatiotS WAH. B SHored’? 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Ben, Sax DBasocs, [ART , n8) DOoWoS TRO SF OH, BATT DAHO wrss , or @ a Geo s) 8 8 So. we5S. & SDNY OKS wD. SHsstorady ToKsWOE Rose soso GoBoar 8B SHonoscnds Kar 5 FP ww & KYoSswis Bo MwsPrssoo Mosi\sMoM VAD, OF] BH, Be Shy ONY KG WNP: Bi KJoSHor G3 No FoFomerd ¥yHooow, TEST sors Wrareni, VOKLOS Be YKoer OH DOIN tooo ardor, ows BHI Komor GY Soave, ar Fdeow, SrryScMGON 5h oT SPothsensond RE KOOFOREWORD. —> < Mr. G. Penchala Narasimharao has done a lasting service to the Andhra public by publishing this small volume of Kritis, Thayanas, Javalis. Padams and songs of.the stage, composed by him in moments of ecstasy aud inspiration. They are sweet and scientific, deep and devotional. The styles of the Dramatic songs are very attractive since they are mostly copied from Hindusthani and Maharatta originals but yet the wonderful way in which they are adapted to the Telugu lan- guage without either the diction or the rhymes sufffering their indispensable assonane is a matter of great study and la- bour. The onomatopoetic effects of some of his songs in the ‘“SOHRAB and RUSTUWM’ cannot bea matter easy achieve ment. It must have a firm back ground. Looking into that we see in him a man, though born with a silver spoon in his mouth, soon shuffled by the throws of destiny into the lap of adversity, and forced to eke out livelihood by the most. un- enviable toil of tilling the Ammanabrolu lands where they sow grain and reap stones, Not that lands are not fertile but all that remains of a year’s labour in these days of low rates high taxes is nothing but stones to the unfortunate cultivator, His warbling notes of early boyhood attracted his Guru the Late Bezawada Kotilingam who led him through the arduous paths of Music. Though he could not pregent him at the pul- pit and offer his prayers to the ruling deity, yet, he made him understand the Sadhana of it and the student too emas- culated himself in the Yogic practice of the same. The great masters of music, Thyagaya, Dikshitar gome and gone. They have left ‘ea _haustible that it is.even today gr often time questioned the hoi Seme are so hard. and unyeifi attempting. to sing, because #x understood or the intended molodies could not be ‘produced. The predecessors of this Trinity are only mentioned but not heard. Perhaps, the recluse in his moods of trance or calm contemplation might have enjoyed that bliss. It is not earthly nor is it the possibility of us, the poor modern generations. Mr. Narasimharao, is also endowed with a devotional nature and his Kritis abound with that sentiment. He has as good a knowledge of the secrets of that soul consuming passion, called love. Otherwise, how can he think of and compose songs of such enticing bew itchment as ‘SSAMAYAMU KADURA’? They are fit objects or a Shakespearean Duke to creave for and cry out, ‘If music be the food of love, give the surfeit of it’. In the enmeshing charm of these, if one is once caught, there is no hepe of his ever getting out. They are done so cunningly and skilfully. He has displayed a rare craftsmanship in the inlaid setting of every word in its own place and the dexterous wielding of the tala for some of the songs isa puzzle even to the most accomplished of musicians, Look at the song ‘PARABRAHMA SACHIDANANDA’, is Misra Jathi—Ata’ with 18 letters. Coming to his theatrical compositions, there is much to examine and admire. Ihave had the good fortune of follwoing him intimately in his construction of the songs for the play ‘SOHRAB & RUSTUM’, I claim to be an ardent devotee of the histrionic art and I have been observing the progress of the Andhra stage for the last dozen and more years. Songs are.of course.sung by eminent actors too.I have al- so witnessed the maharatta stage where Balagandharva looms large. One thing used to be the common feature of both of these kindred communities. Whenever song had to be sung, the actor would come up almost to the front of the stage without a gesture or expression and pour out the sublime me- xl lodies in torrential velocity into the eagerly awaiting ears of the credulous audience, But to a critical otserver the sight of it was a bit too painful. Mr. Narasimbarao achieved a diffe- rent object. Himself being both the poet and the teacher he is able to see the absurdity of it and so his songs are replete with potentialities for action and expression, Look at the songs 3, 20, 21, 24 and 33. The wounded pride of Rustum, the success, intoxicated boasts of Sohrab, the war-field heroic and the grim resolution of the defeated Afrid and her spear- thrusts of wordy ininuation of Rustum speak volumes of the poet’s craft. The comic song No. 9 again credits him with the same capacity at treating a light theme, The prayer songs of Afrid sung at times of deep despondency »re equally me- Hifluous. The love-born nature of Tamina’s songs display an abundant affluence of love-crossed Huzeer are full of passion and enotion, wrought ata very high pitch.The Poet, I believe, worked himself to the fnllest extent in these songs caring at the time for producing the greatest harmonies. His songs for the two plays, “lhe COLLEGE GIRL’ snd ‘NARADA VIVAHAM’, are also very beautiful. The devotional songs of Kanakarajeswari, Harinath baba and Ran- ga are very greatly responsible for the success ard popularity of that play. The sensuous and flirting Ranga, with her idevs of free love and thinking run riot. conceived by the author from types of despicable degeneracy. is fully brought out in Mr. Nayasimharao’s creations. An ardent student of art, full but not overflown with the marks of tenacious study still left on her, any actor or actress can not but :be keen and agil, while playing that part,Mr, Naresimharao’s songs enable such a one, if not embarrassed with unweildy proportions to move and act freely and flourishingly even while singing. Such rendering of music to action is not within the reach of many an artist. That is the achievement of Mr, Narasimharao. In ‘NARADA VIVAHAM’ Song No. 5, when, at the entrance of ‘the Divine Musician, Narada, Lakshmi _ startsxii ap and leaves the company of Vishnu, the song put into‘Nara da’s mouth is tuned to raga “Malkhouse’ and the galloping strides of the raga ure excellently fitted to express the agita- tions of doubting hear Then again song No. 10. is sung by Narada after he is transformed into a female, and the mou- rnful ditty is most aptly fitted with ‘Bhageswari’, ‘Thus we see in the author of these musical compo- sitions zn artist of rare capacity who has understood the se crets of verbal jugglery as well as metrical manipulation. His florid imagination, his keen observation of nature, and his free ramblings in the realms of romance, have enabled him to couch every feeling and emotion ina language at once sweet and soul-stirring. His great practice of the Harmonium coupled with his attractive voice have made him understand the melodies of sound and speech even in the embryo stage, these songs are able to catch the imagination of several of the Gramaphone Artists and several of these are already recorded by the Gramaphone Companies, Mr. Narasimharao is a great seeker of Music and 0 he has started an institution a year back and dubbed it, “The Sarada Musical institute.’ Since there is already a good num- ber of actors and musicians who have been trained by him he has thought himself competent to train lovers of the art on various instruments also, With that object in view he hag opened the above institution. Owing to jack of funds and proper’ publicity, it cannot be as yet said to have succeeded. The author intends to subsidize the institution from the sales of the present publication, Considering the Jaudable nature of the object, I earnestly hope the Andhra Public would-free- jy and ungrudgingly encourage this young poet and musician in his attempts to revolutionize and .ejuvenate the Andhra Music World. May God bless him and crown him with suc- cess in chis commendable act of his! (Sd.) DRONAMRAJU CHINA KAMESWARA RAO, B. A., RAJAHMUNDRY. AN APPRECIATION. Cg EI T have had close contact with Mr, Penchala Nara- simha Rao, having had to conduct the dramas staged annually by our College for the benefit of the Poor Boys’ FUND. In the book of Krithis, Taranas and Stage songs, recently published, the author has shown his ability not only as a musician but also as a composer, for it ig not every mu” sician that is up to original composition. The latter requires genius of a special kind and command over language and prosody, If in addition to the musical seeting, the rules of prosody too are observed as Thyagaraja has done, the compo- sition acquires a poetic value also. This principle seems to have been followed by the author in his KRITHIS especially. These, moreover, breathe the true spirit of devotion, He has also covered a large variety of RAGAMS and TALAMS, in- cluding Some which are out-of-the-way, and so, difficult to handle. There is one special feature about the KRITHIS and TARANAS not elsewhi re seen. ‘The majority of books on music on the market including the so called self-instructors, belie the name, The learner can make nothing of them with- out a teacher; while, with a teacher, they are superfluous, Every one of the songs (Krithis and Taranas) hasan introduc- tory note mentioning its Melakartha, and the notes in the ascending and descending scale. Hence its *SWARA’ struc- ture, and exact position in the classification of tunes are un- mistakably determined.This is likely to add to the usefulnesg of the book im no‘small measure. In the stage songs, Mr. Narasimha Rao has adopted the simpler plan of indexing them, and mentioning the well- known originals after which they have been composed,xiv specially noting those which have come in for gramophone recording. Here he has rightly dropped the swarams and musical flourishes which, though necessary in a krithis, are an infliction in a stage song, for action would be needlessly held up. In the subject-matter of his stage songs, Mr. Nara- simha Rao has shown the versatility of his genius. The stage, being a reflection of real life, all sorts of situations arise in- volving the interplay of the most varied feelings-hatred, love, diplomacy, devotion and the like—all of which the author has successfully tackled. His first-hand study of Hindustani tunes has stood him in good stead here. Tho book is altogether on new lines, and is sure to supply a want long felt by lovers of music in general, and of the stage in particular. Since this is intended to be the fore- runner of more exhaustive treatises, it behoves the public to accord it the encouraging reception it-deserves. Moreover, the age of ‘talkies’ which we have just entered’ upon, opens up a vista of vast possibilities for a genius like Mr. Narasimha Rao’s, I wish him every success. Govt. Training College, (Sd) B, PATTABHI RAMAYYA, RAJAHMUNDRY. M.A, L. T., Vidyabhushana, Sahityasaraswati. eB (er cd so. BOAS* raregcsover% (By Boxe wero! 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