Waking up with a migraine is not the best way to start a day, especially when you have six hundred pages to be studied. Just as I was getting out of my bed swearing at my luck, I thought of brewing myself a hot cup of chai. I sat down sipping my masala chai and looked out at the 'I-am-going-to-rain' sky. I was reminded of my childhood/college days, when amma would make me take a break from studying to drink her awesome tea. I would combine the tea session with maharajapuram santhanam's renditions and when I got back after the break, I would feel so rejuvenated. I tried this today and behold, it worked and how!
Bho sambho was, is and will be my all-time favourite of maharajapuram's renditions. It could be the Revathy connection perhaps (Revathy ragam - my birthstar is revathy). I started with this safe bet and by the end of it, I was settling into a great mood. Revathy is a beautiful ragam which sounds good no matter who is singing it, a professional singer or an amateur. It is amazing to see how the change of a single note makes it so heavy and soul-stirring, when compared to madhyamavathi which is so light and happy (Revathi - R1, Madhyamavathi - R2).
Once into the mood, I couldn't stop myself. On went the series of favourite choices - Narayana (Sudhdha Dhanyasi), Balakanakamaya (Atana), Chakkani Raja (Karaharapriya), Nagumomu (Aaberi) and my favourite thillana in Dhanasri. It was a mesmerising journey which brought back memories of my music-learning days. I remember how it took almost twelve weeks for us to perfect Chakkani Raja, which is probably why I could sing along the innumerable sangathis! It reminded me of how we used to fight amongst each other to decide who would play the sruthi box (we only had a wooden/manual sruthi box in our music classes in our early days, the electronic sruthi box was a later introduction). It reminded me of how each one of us would dread the day when we had to sing a Krithi alone, for our guru to judge how we have learnt it.
It also brought back a very important memory - the day when we were taught to understand more than the sruthi, laya and bhaava, the day when we learned to appreciate the sahithyam (the lyrics of a song) itself. Our guru always taught us every song not just with the swara notes but also with the meaning of every word in the song. This was very important as most of the songs we were learning were in telugu (for instance, Tyagaraja swami's krithis), kannada and even sanskrit (Dhikshithar's krithis for instance). However, we were always focussed on "netruing"(it was pronounced like that - it meant to learn the swarasthanas and the sahithyam by heart), for at that stage all we wanted was to sing the song perfectly. At the end of our group rendition, our guru told us the swarasthanams and sangathis were perfect, except that we didn't understand the sahithyam which made it sound very blunt. He explained the meaning of Chakkani Raja's sahithyam and after that, we understood what change it brought to our singing! If you imbibe the meaning of the sahithyam and do your saathagam (practice), the ragam is bound to flow in the right way! I wanted to share the wondeful message that Tyagaraja Swami has conveyed through Chakkani Raja:
Pallavi
Chakkani Raja margamulundaka
Santhula doora neelee O Manasa
(When there is a spacious royal path to salvation, O Mind, why do you want to take to the by-lanes?)
Anupallavi
Chikkani Paalu Mee Gada yundaga
Cheeyanu Gangasaagara Mele
(When nutritious milk is available, will anyone think of toddy?)
Charanam
Kantiki Sundara Taramagu Roopame,
Mukkanti Nota Chelage Naamame
Tyagaraajintane Nelakonnaadi Deivamee
(When you can feast your eyes on the ravishingly beautiful form of SRI RAMA, when Lord Shiva is eternally chanting the name of SRI RAMA, who has condescended to grace the abode of Tyagaraja, why should you resort to the devious paths instead of the royal path to salvation?)
(Translation courtesy: http://www.ecse.rpi.edu/homepages/shivkuma/music/Chakkaniraja.htm)
Great music, beautiful memories and my migraine is on its way out. :)
