An ode to music

An ode to music

Telugu book ‘Raganga Raga Krithi Manjari’ penned by “Adhunika Vaggeyakara” Nallan Chakravarthy Murthy is another novel contribution and a new edition...

Telugu book ‘Raganga Raga Krithi Manjari’ penned by “Adhunika Vaggeyakara” Nallan Chakravarthy Murthy is another novel contribution and a new edition of 72 Melakartha Krithis. The book is written for the benefit of music teachers and students. So far Murthy has released 11 books on music with lucid and simple notation for easy follow up of the krithis.

In a span of 17 years of his retirement from ICCT as Deputy Director, he made it a commitment to provide books of music excellence. With his vast knowledge in the field, he chiselled and brought the nectar of music to benefit millennials. His mission and zeal are to keep Carnatic music as the citadel in the world of music.

In the krithi “Ganadhipa Hey Pranamami Sadaa” (Kanakangi Raga, Melakartha Kartha No .1, Page No 1), “Sri Narada Sadguru (Ratnangi-M.K.2, P- 3), “Devi Mampalaya” (Ganamurthi M.K.3, Page -5), there is exaltation of God with deep routed Bhakti expressed in simple words keeping sufficient scope for Swarakalpana too.

Viewing the other krithis, “Namamyaham” (Senapathi MK 7, P-13), “Ela Eejaalamu” (Hanumattodi MK 8, P-15),” Sambho Saptaswara Vibho Sri” (Gayaka Priya MK 13, P-27),”Karuna Joopavey (Vakulabharanamu MK 14, P- 29), Murthy touched implicit Bhakti as a seeker of bliss from all the deities. In the other krithis “Jnanabiksha Neeyavey” (Kiravani MK 21, P-47), “Pranamamyaham” (Mararanjani MK 25, P-58), “Parakela Parambika” (Sarasangi MK 27, P-62), “Sri Ramanadha” (Chalanata MK 36, P-82), there is an element of similar style of Bhaktha Ramadasa, Syama Sastri and Narayana Teeertha besides establishing Namasmarana as the right mode of appeal to God.

There is typical blend of poetic talent with an easy style to render the krithis with vigour, providing space for thought-provoking Swarakalpana too in the following krithis “Nera Nammi” (Shadwidhamargini MK 46, P-100), “Nee Sannidhiye” (Suvarnangi MK 47, P-102), “Marichitivemoh” (Ramapriya MK 52, P-111), “Mariyada Telisi” (Shanmukhapriya MK 56, P-118), “Palukavela” (Vachaspathi MK 64, P-134), “Smaraney Sukham” (Kosalamu MK 71, P-150).

To sum up this work of Murthy, krithis are easy to learn, practice and render. There is plenty of scope for exhibiting Manodharma trait. It is also another salient feature that the raga name is incorporated in the text of the krithi, which makes the musician and listener identify the raga and enjoy the essence of the krithi in a more appealing manner.

Furthermore interesting part is that these 72 Mela Kartha Raga Krithis are penned in a simple style and the meaning is quite easily understandable to the present day generation devoid of bombastic style. Murthy through this contribution enriched the Carnatic Music furthermore inducing the young talent in particular and senior musicians, in general, to make head way into the stream of music with a dip and to cherish, flourish and prosper.

By: Chivukula Rama Mohan

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