Said.Sri Rao,Sri Tyagaraja mixes Sanskrit words with Telugu. According to (all) the books I referred, it is 'guru' and not 'guruvu'. See also anupallavi which ends as 'sadguru'. Also, if it is 'guruvu', the chandas will get disturbed, unless Sri Tyagaraja composed it that way.As regards, janiyinci and cedaru also jAli and karuNa, I have tried to explain it to the best of my ability keeping in the context that Sri Tyagaraja is referring to Sri Narada (by implication) in this kRti.Anyone more knowledgeable is welcome to post their comments.With best wishes,V Govindan. Said.Namaskaram Govindan garu.First, as regards mixing samskruta and telugu words, the samskruta sabda for preceptor is guruh, in sambodhana it becomes heyguro, as you are aware. My opinion is, either Tyagaraja is saying guri leka which means without aim; or for saving the metre it should be guruvulEketuvanti guNiki teliyagabOdu, that is if in fact the saint composer is referring to Naarada or a preceptor.
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Rammanuchunnaadu Ninnu Prabhu Yesu Vaanchatho Thana Karamu Chaapi Rammanuchunnaadu (2). Etuvanti Shramalandunu Aadarana Neekichchunani (2) Grahinchi Neevu Yesuni Choochina. Tyagaraja has composed two songs that extol the qualities and characteristics of a good guru. These however describe a spiritual, as opposed to a musical guru. In his ‘Guruleka Etuvanti’ (Gaurimanohari), he describes the preceptor as a ‘special friend of Tyagaraja’ and states that he administers with love the medicine of enlightenment.
In my humble opinion the word Sadguru is an interpolation, because there is no need for such word and the word actually adds an extra syllable - karukaina hrudrogagahanamunu gottanu (sad)guruleka.Again, karukaina (harsh), hrudrogagahanamu (ailment of mind which is like a forest), these are alright. But, kottanu (for beating) is not very apt.
No doubt kottanu also means to fell, but with reference to a tree, not a forest. For a forest we say naruku (cut or slash) - narakanu (for slashing).Tanuvu (physical body) suta (daughter) dhana (money or wealth) dAra (wife) daayaadi (cousins) baandhavulu (relations) - this is a wild assortment. Then comes janiyinci (having been born), cedaru (which get dissipated - an adjective), jaalini (compassion - there is no equivalent case ending in English for the word for the second case i.e. Accusative case 'nin', karuNato (with pity) - more assorted words. The expression is open ended. Manasunantagacheyu also I am not able to understand because it is conveying negative idea. Manasunantaka some people sing, which is meaningless, that means not having touched the heart whereas it should be preventing affliction.In my opinion Tyagaraja is referring to beloved of Siva, Rama, as the aim or object which a devotee should try to attain with ascetic practice.Thank you,Raghavendra Rao.
Mangalampalli Balamurali Krishna (transliterated variously as M. Balamuralikrishna, Mangalampalli Balamuralikrishna, M.
Balamurali Krishna) (b. Sankaraguptam, Andhra Pradesh, India, July 6, 1930) is a legendary Carnatic Music (south Indian classical) composer, poet, vocalist, multi-instrumentalist, innovator and musical iconoclast. His magnificiently rich and instantly recognizable voice extends, with perfect control, over three octaves.The 'Bala' in his name means 'child' Mangalampalli Balamurali Krishna (transliterated variously as M.
Balamuralikrishna, Mangalampalli Balamuralikrishna, M. Balamurali Krishna) (b. Sankaraguptam, Andhra Pradesh, India, July 6, 1930) is a legendary Carnatic Music (south Indian classical) composer, poet, vocalist, multi-instrumentalist, innovator and musical iconoclast. His magnificiently rich and instantly recognizable voice extends, with perfect control, over three octaves.The 'Bala' in his name means 'child', and was added when he first gained fame as a child prodigy performing vocal concerts at the age of five. His father Pattabiramayya was a well known musician and could play the flute, violin and veena and his mother Suryakantamma was an excellent veena player.
Balamuralikrishna thus began his musical career at a very young age. He soon mastered a variety of instruments, melodic and rhythmic, and is the only musician ever to be honoured with All India Radio's 'Top Grade' for seven different performance areas.
He is an enterprising instrumentalist who plays violin, viola, khanjira, veena, mridangam and other instruments. He is also the only musician ever to win National Awards in India for classical music, music direction and film playback singing.While his native tongue is Telugu, he sings with crystal-clear lyrical enunciation not just in Telugu but also in Kannada, Sanskrit, Tamil and less often, in a few other languages as well. His mesmerizing vocal music combines a charmingly deep voice, effortless control over the notes, extraordinary musical knowledge, spontaneous on-stage musical originality and a consistently accurate rendition of lyrics. Consequently, it has caught the pulse of and endeared itself to vastly diverse audiences across generations, cultures and continents. He belongs to that rarest breed of Carnatic musicians who remain popular with laypersons without watering down the classicism inherent in the ancient artform. His rendition of some of Saint Thyagaraja's kritis is spiritually uplifting.
Given the astounding versatility, longevity and resilience of his artistic life, spanning over seven creative and prolific decades, it can be stated without exaggeration that Dr.M.Balamuralikrishna has, for quite some time, been India's most enduring musician.Nearly 400 Carnatic musical compositions are credited to him. New raga(Ganapathi,mahati, sumukham, trisakthi, sarvashri, omkari, janasamodini, manorama, rohini, vallabhi, lavangi, pratimadhyamavathi, sushama etc.) some with only three or four notes, and a new tala (rhythm) system are among his iconoclastic innovations. Such innovations have provoked many criticisms, but his musical inventiveness remains unblunted.
Top Hindustani (north Indian classical) musicians have collaborated with him in 'jugalbandhis' (duets akin to jamming): including Pandit Bhimsen Joshi, Pandit Hariprasad Chaurasia and Smt. Kishori Amonkar, among others.He appeared as featured soloist with an award-winning British choir, performing the 'Gitanjali Suite' with words from Rabindranath Tagore's Nobel Prize-winning poetry and music by Dr. Joel, the noted UK-based Goan composer. His clear diction in several languages prompted an invitation to record Tagore's entire Rabindra Sangeet compositions in Bengali, preserving them for posterity. He has sung in French, and even ventured into jazz fusion, collaborating with the top Carnatic percussion teacher, Sri T.H. Subash Chandran, in a concert for Malaysian royalty.Honours have pursued him. He was awarded the prestigious 'Padma Vibhushan' title by the Indian government, the 'Chevalier des Arts et des Lettres' by the French government, seven doctorates as of 2006, the pro-chancellorship of Telugu University and numerous top musical honours including Sangeetha Kalanidhi of the Madras Music Academy.
He was also conferred with the prestigious Raja-Lakshmi Award in the year 1980 by Sri Raja-Lakshmi Foundation,Chennai. The prestigious award 'Sangeetha Saraswathi' instituted by Manava Seva Kendra was conferred on him by its founder-guardian Poojya Sri Guruji Viswanath, on 25th June 2005. The city of Vijayawada in Andhra Pradesh, India, has named a road after him. The record-buying public have supported him enthusiastically, prompting record labels to issue hundreds of his recordings. He has become increasingly interested in music therapy, and now performs only occasionally.His place among the all-time greats of Carnatic music seems assured.(Source: ).