Introducing Yourself to Indian Classical Music 3-Voices

This is a continuation of a series:

Introducing Yourself to Indian Classical Music 1-Voices
Introducing Yourself to Indian Classical Music 2-Voices

So far we have heard relatively short pieces. In the last post we heard short pieces by MS Subbulakshmi, including devotional pieces.

Today, we’re going to listen to an extended piece by MS. One of the most famous extended classical pieces by MS is her rendition of the composition Saroja dalanetri in the ragam Shankarabharnam at a concert at the United Nations in 1966.  I love listening to this in the evenings after a long day, or if I am in the kitchen cooking dinner.

This piece is approximately 38 minutes long. Try and set aside some time to listen to it in one go, even if doing something else.

Saroja dalanetri can be listened to here (opens in a new window).

While Saroja dalanetri plays you may notice the following (don’t be overly obsessed with catching everything):

• It starts very slowly, but builds in speed and is sung at a very fast pace in the end ( so be patient if you are one of those who only likes speed )
• You hear no words in the beginning, but just an “aaa” sound or the syllables “ta” “da” “ri” “na”
• Though these syllables are repeated more than once, they are not always the rendered the same way
• There is a pause for a short violin solo
• There is no percussion in the beginning
• Singing with words begins after the violin solo and is accompanied by percussion
• That one particular line is repeated several times
• That at one point, as MS sings certain notes, she starts naming them, e.g. G, M, G
• That there is a break without singing for the accompanists on percussion to show their skill
• That there is more than one percussion instrument

If you are interested in the lyrics, they are provided below. However, don’t bother so much about the words that you forget about the music.

The words “pallavi” and “caranam” (pronounced “charanam)” are not part of the lyrics, but you might guess the function of a pallavi and a caranam as you listen.

You might also guess (rightly) that this is a composition on the Mother Goddess, Parvati, the daughter of Himalaya, “Himagiri Putri.”

My favourite line is saamagaana vinodini gunadaama……not because of the meaning, but the way it is rendered…

sarOja daLanEtri
raagam: shankaraabharaNam

Composer: Shyama Shastri (can you hear his name mentioned in the composition?)

pallavi

sarojadaLa nEtri himagiri putri nee
padaambhujamulE
sadaanamminaanamma shubhamimma shree meenaakshamma

anupallavi

paraakusEyaka varadaayakini valEdaivamulokamulo
galadaa
puraaNi sukhapaani madhukaravENi sadaashivuniki
raaNi
(sarOja)

caraNam 1

korivaccina vaarikellanu korkalosage birudugadaa
adibhaarama
nannubrova talli kripaalavaalanE taalajaalanE
(sarOja)

caraNam 2

indu muki karunincumani ninnendOveDu konTini naa
yantu jaagElanamma mariyaada kaadu dayaavati neevu
(sarOja)

caraNam 3

saamagaana vinodini gunadaama shyaamakrishNanutE (amba)
sukha
shyaamaLaam devi neeve gatirati kaamakaamyada
kaavavE nannu
(sarOja)
Credit: Karnatic.com

Another favourite of mine from this concert is Rama Nannu Brovara in the ragam Harikambhoji (can be heard on the same site as Saroja dalanetri). I love the end of Rama Nannu Brovara, when MS improvises on the line “meppulakai kannatAvu-nappu.” Let me know if you manage to listen to this too, and what you think.

Updated to add: listen to everything at a slightly higher volume, so you can hear the various different ways in which the voice is inflected. this applies to all clips

USEFUL LINKS for MP3s
Sarojadala Nethri

Rama Nannu Brovara – M.S.Subbulakshmi

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