From: sreeni@uni-paderborn.de (Sreenivas Paruchuri)
Newsgroups: soc.culture.indian.telugu
Subject: Re: Annamayya
Date: 28 Dec 1995 20:14:49 GMT
Distribution: World
Here are a few excerpts from an article that appeared in _The Hindu_
on 19th Dec. BTW, those who wrote me that "tandanAna aahi .." is in
"bhoopaalam" and not in "bauLi" (as I wrote), please read this article.
Also, the standard books from raaLLapalli anantakRshNaSarma, and
baalaantrapu rajaneekaantaraavu are highly recommended.
Regards,
Sreenivas
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<TITLE>THE HINDU ONLINE : Sahithya Bhava in Annamacharya's works
<CITE>Date: 19-12-1995
Cl: Arts
MADRAS, Dec. 18.
``Sahithya Bhava in Annamacharya's compositions'' was the
first paper presented by Kamisetty Srinivasulu, Director, Sri
Venkateswara Recording Projects, T. T. Devasthanams, Tirupathi.
He was assisted by Sri G. Balakrishna Prasad who not only
rendered select compositions but also tuned some of them.
``Pada Kavitha Pithamaha'' Annamacharya's compositions
are classified into two categories, viz, Srngara and Adhyatama,
stressing Madhura Bhakthi and Deergha Saranagathi respectively.
The underlined major bhava of these compositions is the
ultimate union between the soul and the supreme. Annamacharya,
preacher of the philosophy of Sri Ramanuja, being endowed with
his own immense devotion for Lord Venkateswara, propagated the
idea of one Paramapurusha and that every creation of the universe
merges into that one ``Brahmam''. ``Tandanana Aahi'' in Bhouli,
meaning that all beings are equal on this earth and the Supreme
shines in every soul, reflecting the message of Bhagavad Gita was
rendered vocally.
The lyrical beauty of these compositions highlighting
srngara element by describing the Divine couple and their moments
of love came out through ``Amako'' in Telang. ``Ammamma Yemamma''
in Bhairavi was another one taken up for demonstration. Popular
lyrics like ``Chandamama Ravo'' Of Annamacharya were referred.
``Nanati Baduku'' in Revathi was referred as total philosophical
outpour as another parallel one in ragamalika ``Alala
Canchalamina'' was sung. ``Tatta Dikude Dhim'' was one of the
Prabhanda type suitable for dance presentations. Compositions
like ``Bhavayami Gopala Balam'' etc., were examples taken for
highlighting the quality of ``Bhashagnana'' of the composer.
Apart from the 12,000 available compositions of
Annamacharya with one Pallavi and three charanas usually, a few
more having the signature of Annamacharya ``Venkata'' have been
identified by Sri Srinivasulu at the Tanjore Saraswathi Mahal
Library manuscripts collections. p73
The ``Bhava Pradhanya'' in these lyrics was highlighted
by the speaker, that even if one cannot ``sing'' the
compositions, these could be chanted as poems or slokas.
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